June 2021
Step onto the dance floor of musical enchantment as Barbara Hannigan and the Ludwig Orchestra deliver a spellbinding performance in their album “Dance With Me.” Unearthing the roots of this album, we venture back to a serendipitous night during the Ludwig Orchestra’s tour in Birmingham, England. There, the orchestra’s visionary director, Peppie Wiersma, stumbled upon a bustling club where a jubilant crowd was swaying to the rhythm of ballroom dances. Inspired by the effervescence and jubilation of the moment, Wiersma ventured into a trove of dance band charts, which ultimately sparked the genesis of this vibrant collection.

With each of the twelve tracks pulsating with life, the Ludwig Orchestra deftly navigates beyond the confines of their ‘traditional’ repertoire, relishing in the joy of exploring these varied dance tunes from the twentieth century. In a musical landscape often cluttered with classical musicians attempting ‘popular’ renditions with stilted precision, this ensemble defies convention, seamlessly integrating themselves into the essence of each piece.

Barbara Hannigan, the ever-versatile soprano, emerges as the true chameleon of the album, embodying every nuance and emotion of the diverse repertoire. Her rendition of “Moonlight Serenade” exudes a beguiling naiveté, transporting listeners to a dreamy realm. Meanwhile, the sultry performance of Weill’s “Youkali” places us at the heart of a smoky Berlin cabaret, each note laden with emotion.

While some may have yearned to hear Hannigan’s take on the iconic “Copacabana” by Barry Manilow, they are instead treated to the tantalizing trumpet of Lucienne Rénaudin-Vary in Greg Anthony Rassens’ intoxicating salsa arrangement. A fusion of Broadway roots and Viennese waltz sophistication awaits in Bill Elliott’s enchanting rendition of “I Could Have Danced All Night” from “My Fair Lady.”

As the album culminates with Leo Artok’s arrangement of Elgar’s “Salut d’amour,” we bid farewell to this captivating journey, left with imagery of contented dancers departing the hall, wrapped in the tender glow of shared memories.

In its relatively concise 46-minute duration, “Dance With Me” may leave fans craving more, but the quality of the performances compensates for any brevity. Hannigan admirers will undoubtedly cherish this release, even though her vocals grace just four of the twelve tracks. A healing balm for the soul, this album dismisses the artificial distinctions of ‘classical’ versus ‘popular’ or ‘serious’ versus ‘light,’ championing the only crucial separation – ‘good’ music versus ‘bad.’ And with its contagious energy and extraordinary artistry, “Dance With Me” unequivocally stands as an exemplar of ‘good’ music.

 “Dance With Me” is an exuberant and intoxicating musical endeavor, bringing together the incomparable talents of Barbara Hannigan and the Ludwig Orchestra. It not only celebrates the essence of dance but also underscores the resplendent power of music to infuse joy into our lives. With its infectious energy and impeccable performances, the album deserves wholehearted recommendations. As the final note fades, we can only hope for a future encore, eagerly awaiting their next collaborative masterpiece.

May 2021
Beethoven wrote six trios for piano, violin, and cello. The first three are grouped in Op.1 (composed between twenty-three and twenty-five years), the next two in Op.70 (from 1808) and Op.97 Archduke, whose first version, from 1811, was revised two years later.

The music was written for a virtuoso pianist whose talents would push his string-playing colleagues to new heights of brilliance. This performance convenes musicians just as special. Daniel Barenboim – named by Fortune Magazine as one of ‘The World’s 50 Greatest Leaders’ – is joined by his violinist son Michael and the cellist Kian Soltani, both former members of the West-Eastern Divan Orchestra. 

This album from Deutsche Grammophon, was recorded in Berlin’s Pierre Boulez Saal, with the sound that fills the concert hall but at the same time creates the feeling of an intimate dialog between Barenboim, his son Michael, and cellist Kian Soltani.

To bring Beethoven’s opulent score to life, Daniel Barenboim’s lifetime’s experience not only in playing and conducting Beethoven, but in thinking and rethinking about this music, definitely makes the difference. The directs the operation with great musical depth, providing a prodigious catalogue of nuances, his stylistic purity and a prodigious chiaroscuro.  The understanding between the three musicians is absolute because each of them listen to each other, making authentic chamber music, listening, encouraging, and responding as equals.

The syncopated exchange between Michael Barenboim and Soltani is especially remarkable in the sixth variation of on “Ich bin der Schneider Kakadu and the nonchalant two-part writing, again between violin and cello, in the seventh. Soltani’s combination of the moving and commanding is notable. Throughout, detail and a sense of whole can be found in a perfect harmony. 

As a result, there’s a marvellous ensemble, which catches the essence of Beethoven’s compositions and keeps a sense of spontaneity. A rightfully popular Beethoven release, which would be cherished by classical music lovers. Highly recommended.

– David Smith

Beethoven: Piano Trios
Daniel Barenboim · Michael Barenboim · Kian Soltani

CD1
Ludwig van Beethoven
1. Piano Trio in E Flat Major, Op. 1, No. 1: I. Allegro
2. Piano Trio in E Flat Major, Op. 1, No. 1: II. Adagio cantabile
3. Piano Trio in E Flat Major, Op. 1, No. 1: III. Scherzo. Allegro assai
4. Piano Trio in E Flat Major, Op. 1, No. 1: IV. Finale. Presto
5. Piano Trio in G Major, Op. 1, No. 2: I. Adagio – Allegro vivace
6. Piano Trio in G Major, Op. 1, No. 2: II. Largo con espressione
7. Piano Trio in G Major, Op. 1, No. 2: III. Scherzo. Allegro
8. Piano Trio in G Major, Op. 1, No. 2: IV. Finale. Presto

CD2
Ludwig van Beethoven
1. Piano Trio in C Minor, Op. 1, No. 3: I. Allegro con brio
2. Piano Trio in C Minor, Op. 1, No. 3: II. Andante cantabile con variazioni
3. Piano Trio in C Minor, Op. 1, No. 3: III. Menueto. Quasi allegro
4. Piano Trio in C Minor, Op. 1, No. 3: IV. Finale. Prestissimo
5. Piano Trio No. 7 in B-Flat Major, Op. 97 “Archduke”: I. Allegro moderato
6. Piano Trio No. 7 in B-Flat Major, Op. 97 “Archduke”: II. Scherzo. Allegro
7. Piano Trio No. 7 in B-Flat Major, Op. 97 “Archduke”: III. Andante cantabile, ma però con moto – Poco più adagio
8. Piano Trio No. 7 in B-Flat Major, Op. 97 “Archduke”: IV. Allegro moderato

CD3
Ludwig van Beethoven
1. Piano Trio in D Major, Op. 70, No. 1 “Geistertrio”: I. Allegrovivace e con brio
2. Piano Trio in D Major, Op. 70, No. 1 “Geistertrio”: II. Largo assai ed espressivo
3. Piano Trio in D Major, Op. 70, No. 1 “Geistertrio”: III. Presto
4. Piano Trio in E- Flat Major, Op. 70, No. 2: I. Poco sostenuto – Allegro ma non troppo
5. Piano Trio in E- Flat Major, Op. 70, No. 2: II. Allegretto
6. Piano Trio in E- Flat Major, Op. 70, No. 2: III. Allegretto ma non troppo
7. Piano Trio in E- Flat Major, Op. 70, No. 2: IV. Finale. Allegro
8. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Introduction. Adagio assai
9. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Theme. Allegretto
10. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var. I
11. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var II
12. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var III
13. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var IV
14. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var V
15. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var VI
16. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var VII
17. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var VIII
18. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var IX. Adagio espressivo
19. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Var XI. Presto
20. Piano Trio No. 11 in G Major, Op. 121a, 10 variations on “Ich bin der Schneider Kakadu”: Coda. Allegretto

May 2021
The Latvian mezzo-soprano Elīna Garanča is gifted with one of the richest voices of the time. Garanča (born 1976) had her first successes as a Mozartian (2003 at the Salzburger Festspielen) singing Annio’s rôle at La clemenza di Tito. She has performed on prestigious stages around the world, most notably as Carmen at the MET where the New York Times named her “best Carmen for the past 25 years”. An extraordinary trajectory based on a powerful base, stylistic accuracy and surprising performing capacity.

Her privileged voice has reached the first 20 years of its career and she recently finished the release of her new album, the first that she dedicates entirely to the Lied, with works by Schumann and Brahms.

Her tone is smooth, her singing contained (magnificent pianissimi) and she reaches the high notes with ease. She seems to have no weaknesses in any of her registers, in addition she knows how to communicate and bring to life her characters, knowing how to give impressive lyricism in her phrasing.

Now, in a moment of personal and vocal maturity, she has decided to release this album which appears to be her first incursion into the German Lied genre with a combination of German Romantic works: a Robert Schumann cycle (chronicling the various stages on a woman’s love journey, from the first contact with her future partner, all the way from the birth of the first child to the death of the companion) and Johannes Brahms (“Lieder von Zorn und Bitterkeit, von Naivität und Sehnsucht, von tiefer Zärtlichkeit und schwebendem Glück”). The Scottish pianist Malcolm Martineau accompanies her on the piano.

Her unusual mutable capability is admirable, providing her opulent timbre and adapting to the Liederistic style with spotless pronunciation. If the Schumann cycle narrates the sentimental evolution of a woman, Brahms’ works follow the same dramatic line: from the innocence of the first love, to the mature passion of a moving final Von ewiger Liebe. Interestingly, Garanča seems to feel more comfortable with the Brahms tragic overtones which seem to suit the singer’s qualities better than the Schumannian lyricism. Apart from some metallic intonations in the high register, Garanča’s voice is unassailable. And so is her style.

This disc shows off Ms Garanča’s magnificent voice to perfection and demonstrates that not only does she shine in Bel Canto operatic roles but is well capable of transferring delicacy and expression to the distant register of Lieder.

– David Smith

Lieder – Schumann · Johannes Brahms
Elina Garanča

Robert Schumann
1. Frauenliebe und -leben Op. 42: I. Seit ich ihn gesehen
2. Frauenliebe und -leben Op. 42: II. Er, der Herrlichste von allen
3. Frauenliebe und -leben Op. 42: III. Ich kann’s nicht fassen, nicht glauben
4. Frauenliebe und -leben Op. 42: IV. Du Ring an meinem Finger
5. Frauenliebe und -leben Op. 42: V. Helft mir, ihr Schwestern
6. Frauenliebe und -leben Op. 42: VI. Süsser Freund, du blickest
7. Frauenliebe und -leben Op. 42: VII. An meinem Herzen, an meiner Brust
8. Frauenliebe und -leben Op. 42: VIII. Nun hast du mir den ersten Schmerz getan

Johannes Brahms
9. Sechs Gesänge Op. 3: I. Liebestreu
10. Lieder und Gesänge, Op. 63: VIII. Heimweh II
11. Fünf Lieder Op. 107: V. Mädchenlied
12. Sechs Gesänge, Op. 3: III. Liebe und Frühling II
13. Fünf Gesänge, Op. 72: III. O kühler Wald
14. Fünf Gesänge, Op. 72: IV. Verzagen
15. Fünf Lieder, Op. 94: IV. Sapphische Ode
16. Fünf Lieder, Op. 47: IV. O liebliche Wangen
17. Fünf Lieder, Op. 71: III. Geheimnis
18. Four songs, Op. 96: II. Wir wandelten
19. Fünf gesänge, Op. 72: I. Alte Liebe
20. 4 Lieder, Op. 43: II. Die Mainacht
21. 4 Lieder, Op. 43: I. Von ewiger Liebe

April 2021
“Nightfall” was released on August 24, 2018 by Yellow Label affiliated with Deutsche Grammophon. Having been Deutsche Grammophon artist for 10 years, Alice Sara Ott has successfully completed another recording, this time including Claude Debussy, Erik Satie and Maurice Ravel in her horizons.  

The album comprises a choice of works both luminous and dark, very well combined throughout the entire program. This “Nightfall” album has a nostalgic air in the vision of the pianist Alice Sara Ott, who aims to delve into the mysteries and interior images starting from “the dichotomy of human feelings and experiences, all against the background of a nocturnal atmosphere”.  

Debussy’s youthful work ‘Reverie’ is the first piece of the album. It’s a charming piece full of marvelous simplicity, repeated motifs and lack of climaxes, which makes it very appropriate to begin the album.  
 
It is followed by the four movement ‘Suite bergamasque’ also by Debussy. The remarked strident character of the outer movements ‘Prelude’ and ‘Passepied’ but also ‘Menuet’ makes a beautiful contrast in opposition to the melancholic spirit of ‘Clair de Lune’. This last movement with its fascinating tune and performed with implicit transparencies and a subtle detachment, gets into our souls in a momentum full of joy and bliss.  

Alice Sara Ott musical discourse is very well elaborated, honest, clear and  with a direct approach and  technical ease. We can easily detect a nuance of melancholy, largely increased in the music of Erik Satie. The pianist chose two Gnossiennes, between which is interspersed a Gymnopedie. This works of captivating simplicity from the genuine bohemian Erik Satie, are deeply enchanting for its harmonious originality.  

In Scarbo, the last piece of the cycle “Gaspard de la nuit” by Maurice Ravel, one of the most difficult episodes, Alice Sara Ott unfolds all her marvelous dexterity. The pianist sharply attacks the piece with an admirable command and great sensitivity, maintaining the tension of the moment that finally dissolves in “Pavana for a deceased infant” also by Ravel. The choice of this piece to end this very nuanced and intricate album was very fortunate. Ravel himself described the piece as ‘an evocation of that little prince who might, in former times, have danced at the Spanish court’. Here it’s the listener’s decision to choose by themselves whether this expresses a desire for eternal youth, or the dilemma of someone who cannot grow up. 

Ott’s precision and dynamics are her strong points. Sometimes, she sacrifices expression for accuracy.  We are glad that this didn’t happen in this case, full of genuine emotion and sensitivity, especially in Ravel’s works.  

We totally reccomend you joining Alice Sara Ott in her journey through bright and darkness. 

– Clara Horner

Nightfall
Alice Sara Ott

Claude Debussy
1. Réverie
2 – 5. Suite Bergamasque
Erik Satie
6. Gnossienne No. 1
7. Gymnopédie No. 1
8. Gnossienne No. 3
Maurice Ravel
9 – 11. Gaspard de la nuit
12. Pavane pour une infante défunte

April 2021
A great supporter of the Baroque repertoire throughout her career, Cecilia is joined in this recording by the special guests Philippe Jaroussky, June Anderson, Franco Fagioli and Sol Gabetta, who share her great passion for the musical pearls that have come to light throughout the centuries.

The CD is Cecilia Bartoli’s first compilation album in a decade, and contains the best recordings of joys and musical discoveries of the 17th and 18th centuries, including George Frideric Handel’s“ Lascia ch’io pianga ”and his famous aria“ Ombra mai fu “As well as two tracks, composed by Leonardo Vinci and Agostino Steffani, which are veritable world premiere recordings. 

Queen of Baroque is definitely a double tribute: to Bartoli herself, widely celebrated for her study and performance of baroque arias, but also to the composers who created the greatest compositions of their time.  The CD covers moments of peaceful introspection in contrast with others of upstanding temperament: the entire immense variety of the human condition is encompassed by religious fervor, lulling love duos, war and drama with moments of despair, subtle humor, and genuine feelings. 

The style hides no secrets for her. She masters all the technical and expressive resources of the Italian seventeenth and eighteenth century. Largely recognized for her immaculate diction, this is definitely one of her strongest points.  And with the legato at times unlimited in almost infinite sentences, with and without coloratura, she proves that nothing is impossible.

Some listeners might find an excessive languor for their taste and or an overdose in the emphasis in an attempt to bring even more vivacity and sentiment into the music.

What we are certain about is that her passion for the baroque repertoire suits her audience, interested like her in musical curiosities, especially since she has chosen arias with grace and beauty that perfectly highlight all the qualities of her wonderful warm mezzo-soprano voice.

– Paul Thomas

Queen of Baroque
Cecilia Bartoli

Agostino Steffani
1. I Trionfi del fato: E l’honor stella trianna

Leonardo Vinci
2. Alessandro nelle Indie: Act 1 – Quanto invidio la sorte chi vive amante

Georg Friedrich Händel
3. Rinaldo, HWV 7a: Act 2 – Lascia ch’io pianga

Riccardo Broschi
4. Artaserse: Son qual nave
5. Stabat Mater: 1. Stabat Mater dolorosa

Antonio Vivaldi
6. Griselda – Dramma per musica: Act 3 scene 6: Agitata da due venti

Agostino Steffani
7. Niobe, Regina di Tebe: Serena, o mio bel sole… Mia fiamma… Mio adore

Alessandro Scarlatti
8. Il Sedecià, Rè di Gerusalemme: Caldo sangue

Georg Friedrich Händel
9. Serse, HWV 40: Act 1. Ombra mai fu

Tomaso Albinoni
10. Il nascimento dell’Aurora: Aure andate e baciate

Carl Heinrich Graun
11. Adriano in Siria: Deh, tu bel Dio d’amore… Ov’è il mio bene?

Agostino Steffani
12. Stabat Mater: Eja Mater, fons amoris Fac, ut ardeat Sancta Mater Tui nati vulnerati

Antonio Caldara
13. Il Trionfo dell’Inocenza: Vanne pentita a piangere

Georg Fredrich Händel
14. La Resurrezione (1708) HWV 47: Disserratevi, o porte d’Averno

Nicola Porpora
15. Germanico in Germania: Parto ti lascio, o cara

Agostino Steffani
16. I trionfi del Fato: Combatton quest’alma

Georg Fredrich Händel
17. Bel piacere

April 2021
The Münchener Rundfunkorchester conducted by Massimo Zanetti accompanies the Bulgarian soprano Sonya Yoncheva for her last album: “The Verdi Album”, including a selection of the most favorite arias by Il trovatore, Luisa Miller, Attila, Stiffelio, La forza del Destino, Otello, Simon Boccanegra, Don Carlo and Nabucco. This recital was recorded in 2017 at Studio 1 of the Bavarian Radio in München. 

Yoncheva’s superb voice has been one of the greatest revelations in the classical signing world. Her wide breathing capacity and silky tone have been praised by many critics worldwide. She’s also well known for her wide palette of vocal colors (particularly dark ones), and a controlled beautiful vibrato. 

The recorded areas cover a wide range of moods and emotions and not all of them have been sung live by the soprano. Yocheved’s  Verdian roles have been particularly praised for the deep feeling, attraction and mournfulness that accompany her vocal production. She sings with true honesty but without taking many risks. 

To complete the selected program, the singer must face such a diverse highly skill demanding characters with different vocal needs; as different as Abigaille and Odabella, which requires an exhausting work of dramatic agility, and Simon’s Amelia Boccanegra and Desdemona form Otello marked by a clear and inspirational lyricism, or the epic roles of Elisabetta del Don Carlo, Lina d’Stiffelio, and the two great Leonora, so contrasting and lively, from Il Trovatore and La forza del destino.

With a collection of emotions as varied as the chosen selection, the Bulgarian soprano struggles to give sufficient nuances to each character, and as a result everything has an expressive uniformity with low emotional temperature.  The attractive color of her voice and her undeniable technique doesn’t completely make up for her limitations in the lower sounds, and her not always flawless and confident highest pitched notes. Compared to other historical sopranos like Maria Callas, she lacks a bit of power and strength on the most dramatic roles. 

However, there are some exceptions where the artist really shines with all her potential, like the ‘Ave Maria’ by the Otello or in the Amelia and Desdemona, full lyricism with a well achieved and intense dramatic interpretation. And the orchestra masterfully conducted by Massimo Zanetti supports the soprano with a flexible accompaniment, creating a very appropriate atmosphere with a dense and rich sonority.

– Clara Horner

The Verdy Album
Sonya Yoncheva

Giuseppe Verdi
Il trovatore Act 1, Scene 2
1. “Tacea la notte placida … Di tale amor che dirsi” (Leonora)
Luisa Miller Act 2, Scene 1
2. “Tu puniscimi, o Signore” (Luisa)
Attila Act 1, Scene 1
3. “Liberamente or piangi … Oh! Nel fuggente nuvolo” (Odabella)
Stiffelio Act 1, Scene 6
4. “Tosto ei disse! … A te ascenda, o Dio clemente” (Lina)
La forza del destino Act 4, Scene 6
5. “Pace! Pace, mio Dio!” (Leonora)
Otello Act 4, Scene 2
6. “Ave Maria, piena di grazia” (Desdemona)
Simon Boccanegra Act 1, Scene 1
7. “Come in quest’ora bruna” (Amelia)
Don Carlo Act 4, Scene 1
8. “Tu che le vanità … Francia, nobile suol” (Elisabetta)
Nabucco Act 2, Scenes 1 & 2
9. “Anch’io dischiuso un giorno … Salgo già del trono aurato” (Abigaille)

March 2021
Recognized by the New York Times for his “exquisitely responsive playing” and “impressive agility,” Grammy nominated mandolinist extraordinaire Avi Avital, has made an album where for the first time the entire repertoire was originally written for the mandolin. The Venice Baroque Orchestra, harpist Anneleen Lenaerts, guitarist Sean Shibe, harpsichordist Yizhar Karshon and theorbo player Ophira Zakai all joined him in this recording. 

Avi Avital is one of the most important young artists in the music world today. The Israeli has revalued the mandolin by interpreting adaptations of various works of the Baroque and, he has explored traditional and contemporary music. 

Vivaldi’s enchanting Double Mandolin Concerto (partnered by Alon Sariel), is brilliantly performed with the skillful accompaniment of the Venice Baroque Orchestra which definitely keeps up with the level. Staying in the Baroque period, Domenico Scarlatti’s D minor Keyboard Sonata K.89 belongs to a selection of works that are believed to have been conceived originally for the mandolin. Avital’s rich and powerful performance proves it right. 

Anneleen Lenaerts on harp teams up with Avital to interpret Adagio ma non troppo for Mandolin and Harp by Ludwig van Beethoven. For this love song the pair works perfectly together reaching the listener with their exquisitely lyrical reading of Beethoven’s music.  

After that is “Death Is a Friend of Ours” by British composer David Bruce. Here we get an amazing creation for a modern work reaching a delightful combination of a plainly contemporary sensibility and the best of the nineteenth century. The result is vivid and dynamic with a wonderful middle section.

We also must point out the Prelude for Solo Mandolin by Giovanni Sollima. It’s the most-recent composition on the program. It’s also probably the most fascinating and imaginative piece on the agenda.  

Avital and all the artists who joined the recording show an exquisite musicality and a serious and balanced technical command. The whole performance alternating between percussive sounds and lyricism is bright and warm. The result is a marvelous collection of textures and timbre. The disc’s accent on chamber music for plucked instruments is a great choice, and a we can almost feel the sense of joy that comes from the playing. 

Jumping to the last piece of the program we find the Carillon, Recitatif, and Masque by Hans Werner Henze. The sounds are intrinsically ingenious and put in hands of the virtuous soloists, the three instruments magically blend into one. The album as a whole is kaleidoscopic and naturally lively.  We are facing a highly recommended recording. 

– Paul Thomas

Art of the mandolin
Avi Avital

1. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: I. Allegro
2. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: II. Andante
3. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: III. Allegro

Ludwig van Beethoven
4. Adagio for Mandolin and Harpsichord in E Flat Major, WoO 43b

David Bruce
5. “Death is a friend of ours”: I. Inside the Wave
6. “Death is a friend of ours”: II. The Death of Despair
7. “Death is a friend of ours”: III. Death Is a Friend of Ours

Giovanni Sollima
8. Prelude for Mandolin solo

Domenico Scarlatti
9. Keyboard Sonata in D minor, Kk. 89: I. Allegro
10. Keyboard Sonata in D minor, Kk. 89: II: Grave
11. Keyboard Sonata in D minor, Kk. 89: III: Allegro

Paul Ben-Haim
12. Sonata a Tre for Mandolin, Guitar, Harpsichord: I. Allegro aperto
13. Sonata a Tre for Mandolin, Guitar, Harpsichord: II. Lentamente recitando
14. Sonata a Tre for Mandolin, Guitar, Harpsichord: III. Lo stesso movimento

Hans Werner Henze
15. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: I. Carillon. Allegretto
16. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: II. Récitatif. Adagio
17. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: III. Masque

March 2021
“Blue Hour” is the name of this new album by Deutsche Grammophone / Universal Music Canada. With this release, the exclusive alliance between the artist and yellow label since 2013 has been renewed.  

In this CD Andreas Ottensamer shows his soloist side giving an outstanding performance at his best musical and interpretive level. He pairs up with her friend and colleague, Yuja Wang, forming an unparalleled duo. This new album collects jewels from the Romantic period of great meaning for Ottensamer; the Intermezzo Op. 118 Nº2 from Brahms, his favorite composer, a Mendelssohn arrangement of “Lieder ohne Worte” . From Carl Maria von Weber the “Gran Duo Concertante” Op.4 and, accompanied by the famous Berlin Philharmonic Orchestra,  in which he performs as the first Clarinet, we’ll find in this recording the Clarinet Concerto No. 1 in F minor Op. 73 recorded live under the baton of Mariss Jansons.  

The selection of works that build up the program, seems a bit shocking for some critics who feel that might not be very fortunate. Pairing a live Weber Clarinet Concerto No. 1, Op. 73, with a studio recording of clarinet-and-piano pieces, mostly transcriptions, by Weber, Mendelssohn, and Brahms, doesn’t go with the taste of everybody. 

The concerto is very well executed by the artist with precise technical polish. The sublime fusion of the solo clarinet with the other winds in the slow movement; leaves us with one of the best version of this movement, and his playing keeps his playing keeps smooth and delicate as well in the following movements. We must point out the marvelous work of Mariss Jansons and the Berlin Philharmonic, who offer an exceptional accompaniment, besides not being much recognized by the media coverage.

We can listen pianist Yuja Wang, here in an unusual second term role, with an immaculate technical interpretation, vivid and joyful and with great musicality, as usual she has no problem keeping up with the level of the other two protagonists.  

The adequacy of the record’s title, Blue Hour has been a cause of debate. Because we are in front of a compilation of dissimilar works by Weber, Brahms and Mendelssohn, the latter two represented by arrangements, the link between the title and the program is not evident. It could just be a melancholic selection, but in any case, no explanation is been given so far.

The tight synchronization between clarinetist and pianist Yuja Wang is remarkable and the highly skilled musicianship is undeniable throughout the disc.  Nobody would doubt of the quality of the performers and their flawless technique. It’s been a controversial release, which definitely deserves to be listened and judged by any music lover.

– David Smith

Blue Hour
Andreas Ottensamer · Yuja Wang

Johannes Brahms
1. 6 piano pieces, Op. 118 (Arr. Popov for piano and clarinet): II. Intermezzo in A Major. Andante teneramente
Carl Maria von Webber
2. Clarinet concerto No. 1 in F Minor, Op. 73: I. Allegro
3. Clarinet concerto No. 1 in F Minor, Op. 73: II. Adagio ma non troppo
4. Clarinet concerto No. 1 in F Minor, Op. 73: III. Rondo
5. Lieder ohne Worte, Op. 85: No. 6 – Allegretto con moto
6. Lieder ohne Worte, Op. 102: No. 1 – Andante un poco agitato
Johannes Brahms
7. Five songs, Op. 105: I. Wie Melodien zieht es mir
8. Lieder ohne Worte, Op. 30: No. 4 – Agitato e con fuoco
9. Lieder ohne Worte, Op. 67: No. 3 -Andante tranquillo
Carl Maria von Webber
10. Grand Duo Concertant: I. Allegro con fuoco
11. Grand Duo Concertant: II. Andante con moto
12. Grand Duo Concertant: III. Rondo. Allegro
13. Lieder ohne Worte, Op. 30: No. 6 – Allegretto tranquillo “Venetianisches Gondellied”
14. Lieder ohne Worte, Op. 67: No. 2 – Allegro leggiero
15. Lieder ohne Worte, Op. 85: No. 4 – Andante sostenuto

March 2021
Nikolai Medtner’s exquisite songs, presented by soprano Sofia Fomina and pianist Alexander Karpeyev, showcase a compelling blend of Eastern and Western influences in a collection that transports listeners through the realms of Russian and German literature. The album offers a thoughtful exploration of Medtner’s artistry, where both instruments merge to create a refined and creative dialogue.

The Op. 36 set, featuring Six Poems by A. Pushkin, serves as a mesmerizing introduction to Medtner’s profound artistry. An exquisite interplay between Fomina’s soprano and Karpeyev’s piano brings to life the harmonic journey of “The Angel,” evoking echoes of Rachmaninoff’s brilliance. This duet embodies the central dichotomy of the poem, seamlessly intertwining vocal and piano lines with a touch of individuality. Fomina’s spirited spontaneity in “The Flower” is beautifully complemented by Karpeyev’s climactic piano, infused with a brief but captivating sense of mysticism.

“Spanish Romance,” built on Pushkin’s terse verses, reveals Medtner’s ability to weave textures that mirror gaiety and dreaminess. Fomina and Karpeyev’s artistry paints a vivid picture of a warm Spanish night, where the soprano’s versatile interpretation captures moments of soothing tranquility and tempestuous passion. The Op. 46 Seven Lieder, inspired by Medtner’s German roots, unveils a more subtle palette. “Hallowed Place” showcases Fomina’s resonant grace, harmonizing beautifully with Karpeyev’s translucent and whimsical piano.

The album’s pinnacle arrives with “Winter Night,” a hauntingly intense performance. Fomina expertly navigates through the emotions, from hopeful comfort to cataclysmic anticipation, while Karpeyev’s piano conjures a chilling winter landscape punctuated by crystalline and menacing dissonances. The cathartic “Spring” that ensues is a juxtaposition of lightheartedness and perpetual sadness, masterfully capturing Medtner’s irony.

Notably, “Sleeplessness” from Op. 37 stands out, as Fomina’s husky lower register melds seamlessly with Karpeyev’s brooding piano, breathing life into Medtner’s listless harmonies.

Recorded at Wyastone Concert Hall in the UK, the album offers a live feel, though the balance at times struggles to accommodate the intricate interplay of Medtner’s piano and vocal nuances. While minor missteps exist, the album’s liner notes provide a deeper understanding of Medtner’s influences and compositional style.

In conclusion, “Medtner – Songs – Sofia Fomina, Alexander Karpeyev” is a compelling testament to the convergence of Medtner’s heritage and artistry. Fomina and Karpeyev’s collaborative efforts bring these compositions to life, despite occasional balance challenges. With its rich tapestry of emotions and nuanced performances, this release undoubtedly merits a place in the collection of any true song enthusiast, shedding light on the profound beauty of Medtner’s musical legacy.

February 2021
The new album by the North American soprano Renée Fleming is vivid example of the art of singing. It leaves no doubt of how an artist of her stature can continue to surprise her audience and critics with such refined and sublime performances. 

With a careful selection of her favorite songs by Brahms, Schumann and Mahler, including Wiegenlied (Lullaby) by Brahms, the beauty that the interpreter achieves with her phrasing deeply reaches the listener’s heart. 

The record begins with eight songs by Brahms starting with the famous piece, “Wiegenlied”, op. 49 no. 4. Fleming interprets this lullaby with exquisite elegance and with admirable fluency. The brilliant accompaniment stands out in the following song “Ständchen”, op. 106 no. 1. The CD continues with “Lerchengesang”, op. 70 no. 2, with a precise and clear piano melody; and a subtle velvety voice. 

Equally exquisite and refined is «Mondnacht», WoO 21. Besides choosing songs of great lyricism, we can also find others with a more playful character, such as «Die Liebsten Schwur», op. 69 no. 4. and “Vergebliches Ständchen”, op. 84 no. 4.  

Fleming’s interpretive maturity enriches each song even more. We can hear her round voice in in each of the eight pieces that make up the Frauenliebe und Leben, op. 42 by Schumann, with chiaroscuro in the center register, vibrant highs and a great understanding of the style. The  is not in vocal display but in explaining each little story that the eight songs of the cycle contain: “Seit ich ihn gesehen”, “Er, der Herrlichste von allen”, “Ich kann’s nicht fassen, nicht glauben”, “Du Ring an meinem Finger”, “Helft mir, ihr Schwestern”, “Süsser Freund, du blickest mich verwundert an”, “An meinem Herzen, an meiner Brust”, and “Nun hast du mir den ersten Schmerz getan”.

The surprise comes in the last five tracks, in which the soprano sings Mahler along with the distinguished baton of Christian Thielemann, who masterfully conducts the Münchner Philharmoniker in the Rückert-Lieder (2010). Her “Liebst du um Schönheit” is deeply moving as well as her epic “Um Mitternacht” and the breathtaking “Ich bin der Welt abhanden gekommen” in which she also excels. Her immaculate tuning together with her strong communication power makes the perfect convination to make listeners fall in love with her expressiveness and the accents that she proposes in her phrasing.

Fleming’s latest album is a real treat for the ears from beginning to end. A true delight for the listeners to be carried away by her unique vocal charm.

– Paul Thomas

Lieder
Renée Fleming

Johannes Brahms
1. Wiegenlied, Op. 49, No. 4
2. Fünf Lieder Op. 106: 1. Ständchen “Der Mond steht über dem Berg”
3. Vier Gesänge Op. 70: 2. Lerchengesang
4. Vier Gesänge Op. 70: Mondnacht, WoO 21
5. Neun Gesänge Op. 69: 4. Des Liebsten Schwur
6. 4 Lieder Op. 43: 2. Die Mainacht
7. 49 Deutsche Volkslieder WoO 33: 6. Da unten im Tale
8. Romanze und Gesänge Op. 84: 4. Vergebliches Ständchen

Robert Schumann
9. Frauenliebe und -leben Op. 42: 1. Seit ich ihn gesehen
10. Frauenliebe und -leben Op. 42: 2. Er, der Herrlichste von allen
11. Frauenliebe und -leben Op. 42: 3. Ich kann’s nicht fassen, nicht glauben
12. Frauenliebe und -leben Op. 42: 4. Du Ring an meinem Finger
13. Frauenliebe und -leben Op. 42: 5. Helft mir, ihr Schwestern
14. Frauenliebe und -leben Op. 42: 6. Süsser Freund, du blickest mich verwundert an
15. Frauenliebe und -leben Op. 42: 7. An meinem Herzen, an meiner Brust
16. Frauenliebe und -leben Op. 42: 8. Nun hast du mir den ersten Schmerz getan

Gustav Mahler
17. Rückert-Lieder Op. 44: 1. Ich atmet’ einen linden Duft
18. Rückert-Lieder Op. 44: 2. Liebst du um Schönheit
19. Rückert-Lieder Op. 44: 3. Um Mitternacht
20. Rückert-Lieder Op. 44: 4. Blicke mir nicht in die Lieder
21. Rückert-Lieder Op. 44: 5. Ich bin der Welt abhanden gekommen