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

February 2021
After a few years of intermittent and erratic career, sadly marked by the death of his  mentor and wife, the also pianist Alicia Kerezade, we can finally celebrate his imposing and powerful return from Sony Classical, thanks to magnificent performances of prominent Beethoven piano Sonatas and the phenomenal Rachmaninov ‘s Sonata op 36 . Pogorelich aimed to unite for his return to the music world by recording works from two of the biggest composers’ virtuosos and piano performers ever. He does so by playing reference works, although some critics believe that perhaps a binomial Sonatas Waldstein or Appassionata by Beethoven confronted Rachmaninov could have been still more attractive.

In any case, Pogorelich offers us a very intimate approach of these works, with a very beautiful phrasing, a rather slow tempi, and a certain harshness in the pulsation which he compensates with a deep emotional charge and an even deeper introspection. 

The result is very fascinating and captivating. Particularly in the beautiful Beethoven Sonata No. 24, exquisitely played, and outstanding and formidable in Rachmaninov, performed in its proper measure, without sentimentality, with a remarkable sensitivity and great virtuosity. 

Beethoven’s Op. 54 leaves us moving moments, such as the fortes of the initial Menuetto, or the passage in the Adagio indication which leads to Tempo primo with greatly performed coda. Another detail is the absolute clarity in the articulation, as it happens in all the Allegretto. In Op. 78, the indications of leggieramente and the subtle crescendi are masterfully performed, immersing the listener an irresistible flow.

The first phrase of Rachmaninov’s Sonata has a unique pianistic color and a perfectly gradual progression towards a continuous sound clarity, which provides an exciting experience to the listener.

This return to the recording studios is very promising and would be highly celebrated by many music lovers. Big presence recording. Highly recommended.

– Clara Horner

Beethoven & Rachmaninoff
Ivo Pogorelich

Ludwig van Beethoven 
Piano Sonata No. 22 in F Major Op. 54
1. Piano Sonata No. 22 in F Major Op. 54: I  In tempo d’un Menuetto
2. Piano Sonata No. 22 in F Major Op. 54: II  Allegretto
3. Piano Sonata No. 24 in F-sharp Major Op. 78: I  Adagio cantabile – Allegro ma non troppo
4. Piano Sonata No. 24 in F-sharp Major Op. 78: II Allegro vivace

Sergei Rachmaninoff
5. Piano Sonata No. 2 in B-Flat Minor Op. 36: I  Allegro agitato
6. Piano Sonata No. 2 in B-Flat minor Op. 36: II Non allegro – Lento – attacca
7.  Piano Sonata No. 2 in B-flat minor Op. 36: III L’istesso tempo – Allegro molto

January 2021
Daniil Trifonov’s “Silver Age” album offers a remarkable exploration of Russian 20th-century piano masterpieces, elegantly curated with a blend of imagination and artistry. Accompanied by the Mariinsky Orchestra under Valery Gergiev’s baton, Trifonov embarks on a musical journey that unveils the diverse and evocative landscapes of these works.

The program opens with Stravinsky’s gleaming Serenade, a neo-classical gem from 1925 that melds tradition with innovation. Trifonov’s interpretation gracefully navigates the composer’s stylistic complexities, delivering both refinement and vivacity.

Prokofiev’s Eighth Piano Sonata follows, a powerful masterpiece spanning the tumultuous era of the Second World War. Trifonov’s performance exhibits striking intensity, particularly in the whirlwind passages that showcase his virtuosic brilliance. In contrast, the central minuet (Andante sognando) reveals Trifonov’s ability to create a dreamlike ambiance, captivating listeners with his emotive playing.

The quirky Gavotte from Prokofiev’s ballet “Cinderella,” transcribed for piano, adds a delightful twist to the album. Trifonov’s interpretation masterfully explores the piece’s whimsical and evocative qualities, providing a fresh perspective on this lesser-known gem.

Scriabin’s Piano Concerto, though dating back to the end of the 19th century, exudes a silvery and shimmering quality that aligns with the album’s theme. Trifonov’s nuanced performance beautifully brings out the concerto’s lyricism and romantic charm, presenting a compelling contrast to the more modern works.

Trifonov’s collaboration with Gergiev and the Mariinsky Orchestra yields exceptional results. Their partnership shines brightly in Prokofiev’s Second Piano Concerto, offering a gripping and unforgettable account of the work’s dramatic power. Similarly, Scriabin’s early concerto finds a delicate and captivating voice under Trifonov’s fingers, highlighting the piece’s pristine candor in the Theme and Variations.

Throughout the album, Trifonov’s interpretive choices demonstrate his keen musical intelligence and sensitivity. His ability to shape the music’s emotional arc is spellbinding, adding new dimensions to familiar pieces and breathing new life into each note.

“Silver Age” by Daniil Trifonov is an exceptional album that will leave a lasting impression on any classical music enthusiast. Trifonov’s artistry and the collaborative brilliance with Gergiev and the Mariinsky Orchestra elevate this recording to a realm of captivating musical exploration. Whether you are well-acquainted with these works or experiencing them for the first time, “Silver Age” promises an enthralling and enlightening journey through the heart of Russian classical music.

January 2021
Mozart is the chosen composer for this album by Christian Zacharias, born in 1950, a pianist praised for his charm, wiseness, accuracy and wit which makes him excel in the Classical style. 

The New York Times has described his playing as “Apollonian… notable for it’s probing insights and carefully wrought details”. The CD compillation comprises the piano concertos Nos 5-27, the complete piano sonatas and a selection of chamber music. This complete release proes Zacharias as both magistral soloist of and a conscious partner to such rellevant instrumentalists as Sabine Meyer, Frank Peter Zimmermann or Tabea Zimmermann.

The performances are lovely. Christian Zacharias, plays these beautifully. Delicacy and subtlety are his trademarks.

The perfect symmetry he brings to the piano parts is admirable and some crítics compare it to the Walter Gieseking’s flawles Mozart playing. Great syncronisation between the pianist and his colleagues reveals a high level of sensitivity and mutual understanding. We can see it in the in the second-subject and development sections of the E-flat Quartet’s Allegro, when the interpreters pass the melodic line back and forth in a smooth and delicate way.

This release easily ranks within the best for Mozart’s Piano Quartets,  stylish, tasteful playing and excellent sound.

– David Gutman

Mozart Piano Quartets
Christian Zacharias

Wolfgang Amadeus Mozart
1. Piano Quartet No. 1 in G Minor K. 478: I. Allegro
2. Piano Quartet No. 1 in G Minor K. 478: II. Andante
3. Piano Quartet No. 1 in G Minor K. 478: III. Rondo
4. Piano Quartet No. 2 in E-Flat Major, K. 493: I. Allegro
5. Piano Quartet No. 2 in E-Flat Major, K. 493: II. Larghetto
6. Piano Quartet No. 2 in E-Flat Major, K. 493: III. Allegretto

January 2021
Bach’s monumental Goldberg Variations occupy a unique place in piano literature as a work of unparalleled artistic value and brilliance. Lang Lang initially began studying this masterpiece more than twenty years ago and presents this album as the result of a long personal and emotional journey. They represent the beginning of a new stage in Lang Lang’s artistic evolution and it is the project of a lifetime.

This is where the unusual Lang Lang’s encounter with this work will surprise many. Where usually most pianists go through these variations in 70 minutes, Lang Lang takes us on a long journey of nearly… 90 minutes. Half an hour longer than the historical version of Glenn Gould.

Spread out over two discs, Lang Lang’s vision, aims to be deeply mystical and interior, which is surprising coming from an artist who has indeed accustomed us to a more fiery style.

The interpretations are perfectly measured, and the playing is stylistically correct, in many occasions his performances feel like he’s trying to grip all the energy out of the music, with sorely slow tempos and somehow artificial phrasing that sometimes reminds us more to Rachmaninov than to Bach. 

Tempi a the Thomaskirche are generally a bit faster and the performance seems more free and less constrained. But there are still moments when Lang’s ornaments and rubato appear repeatedly and far from being spontaneous, they seem to be added out of courtesy.

From the conception of Lang Lang, let us retain the combined fantasy and rigor. And, perhaps, this is what cannot completely satisfy the listener, at least one who seeks beyond the brilliance of the game, a spiritual boost.

These Goldberg Variations, unlike any other, will not be unanimous but they are deeply interesting.  Some will undoubtedly hate this sometimes excessive vision in weightlessness, others will appreciate the clarity of the reading and the overall moderation of this vision. 

Lang Lang takes us on an almost religious journey, of absolute concentration, where each melodic line is perfectly and measuredly interpreted.

– David Gutman

Goldberg Variations
Lang Lang

CD 1
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante

CD 2
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo

CD 3
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante

CD 4
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo

December 2020
John Eliot Gardiner, founder and director of the “Monteverdi Choir” and of the “English Baroque Soloists”, ensembles of world-famous in the interpretation of baroque music, is one of the greatest connoisseurs and interpreters of Bach. Since 1999 he has developed a project that presents the Sacred Cantatas according to the order of the liturgical calendar. 

Gardiner is one of the best interpreters of Bach’s vocal music and thanks to this the choir also seems like a soloist, with a rich and exuberant texture. Now, in full and splendid maturity, he conducts directly from his heart knowing that his choir and orchestra, his human instruments, his lifetime project, will intuït his intentions, almost before he expresses them. The result is an unforgettable performance.  

The choir performance is flawless, showing exceptional technical competence throughout the whole demanding repertoire. Especially in the exciting the sublime choral “Ziom härt die Wachter singen”. Gardiner’s deep knowledge of ancient song is visible and has been the reason for his triumph also in several operas. Some very well-prepared soloists with great vocal qualities stand out from the choir, alternating his performances under the maestro’s guidance.   

The performance of the English Baroque Solists was once again enormous. The ensemble is a malleable, pleasing, precise instrument with fine sensitivity, always ready to respond admirable to the baton’s demands. Bernarda Fink is once again perfect in both emotion and technique, alongside an Olympian Dietrich Henschel, even in the virtuoso passages (aria with obligatory trumpet from Cantata I). Soprano Claron McFadden, showed her seductive tone and great control, only just a bit imprecise in the articulation, especially in the ornaments.  

The Monteverdi Choir is formed by an authentic elite, is just the perfect conjunction of individual reliability and solvency without losing the group spirit and common sensitivity.  

The experience and the long collaboration between singers, soloists and cleverly conducted choir, provides a magnificent musical recording which will surely delight Bach’s music lovers.

– David Smith

Christmas Oratorio
John Eliot Gardiner

Johann Sebastian Bach, Christian Friedrich Henrici
1. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.1 Chorus: “Jauchzet, frohlocket”
2. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.2 Evangelist: “Es begab sich aber zu der Zeit”
3.Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.3 Rezitativ (Alt): “Nun wird mein liebster Bräutigam”
4. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.4 Aria (Alto): ” Bereite dich, Zion”
5. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.5 Choral: “Wie soll ich dich empfangen”
6. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.6 Evangelist: “Und sie gebar ihren ersten Sohn”
7. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.7 Chorale: “Er ist auf Erden kommen arm”, Recitativ (Bass): Wer will die Liebe recht erhöhn”
8. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.8 Aria (Baß): “Großer Herr, o starker König”
9. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.9 Choral: “Ach mein herzliebes Jesulein”
10. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.10 Sinfonia
11. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.11 Evangelist: “Und es waren Hirten in derselben Gegend”
12. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.12 Chorale: “Brich an, o schönes Morgenlicht”
13. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.13 Evangelist, Engel: “Und der Engel sprach zu Ihnen”
14. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.14 Rezitativ (Baß): “Was Gott dem Abraham Verheißen”
15. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.15 Aria (Tenor): “Frohe Hirten, eilt, ach eilet”
16. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.16 Evangelist: “Und das habt zum Zeichen”
17. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.17 Chorale: “Schaut hin, dort liegt im finstern Stall”
18. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.18 Rezitativ (Baß): “So geht denn hin, ihr Hirten, geht”
19. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.19 Aria (Alto): “Schlafe, mein Liebster, geniesse der Ruh”
20. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.20 Evangelist: “Und alsbald war da bei dem Engel”
21. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.21 Chor: “Ehre sei Gott in der Höhe”
22. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.22 Rezitativ (Baß): “So recht, ihr Engel, jauchzt und singet”
23. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.23 Chorale: “Wir singen dir in deinem Heer”
24. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.24 Chor: “Herrscher des Himmels, erhöre das Lallen”
25. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.25 Evangelist: “Und da die Engel von ihnen gen Himmel fuhren”
26. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.26 Chor: “Lasset uns nun gehen gen Bethlehem”
27. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.27 Rezitativ (Baß): “Er hat sein Volk getröst”
28. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.28 Choral: “Dies hat er alles uns getan”
29. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.29 Duett (Sopran, Baß): “Herr, dein Mitleid, dein Erbarmen”
30. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.30 Evangelist: “Und sie kamen eilend”
31. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.31 Aria (Alt): “Schließe, mein Herze, dies selige Wunder”
32. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.32 Recitativ (Alt): “Ja, ja, mein Herz soll es bewahren”
33. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 33 Choral: “Ich will dich mit Fleiß bewahren”
34. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 34 Evangelist: “Und die Hirten kehrten wieder um”
35. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 35 Choral: “Seid froh dieweil”
36. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 24 Chor: Herrscher des Himmels, erhöre das Lallen”

December 2020
After the great acceptance among the audience and critics of the releases ‘Caruso 1873’, the opera singer surprises us with his new album ‘Le Chanteur’.

“Le Chanteur” is a fine and skillful interlacing of several popular songs, arranged by Ivan Cassar, the tenor’s faithful traveling companion.  

In this tribute to French song, he brings back to life songs he performed during his childhood and then when he was playing cabaret, long before going on the biggest lyrical stages. As he says, this record brings him back to fond memories. Roberto Alagna delights us once again, this time not with his tenor voice, but by revisiting these old songs with his own personality, his dynamism, his sweetness, and with magnificent arrangements. 

Popular music is a genre which should be prudently approached by classical singers. With its own rules and patterns it’s easy for those novices in these to sound poor or even tedious. But Alagna’s interpretation reaches perfection– special mention should be made of his father who was a big lover of popular music, while his mother initiated him as a boy into opera.

Alagna takes on the relaxed rhythms of the style, often with early entries, and slides. And we can clearly hear every word, many of them without accessory liner notes. The combination of instrumentalists brings variety to the interpretation, including some clarinet and trumpet astonishing interventions in ‘Bohémienne aux grands yeux noirs’, 

Exceptional interpreter capable of moving because he is able to communicate the true meaning and passion in every word he sings. Roberto Alagna’s a velvety but at the same time powerful voice, with clean and endless highs. A perfect instrument, from which the tears as well as the smiles of the audiences emerge. He has tackled the South American and Sicilian repertoire and the Neapolitan serenades in a simply divine way and now he adds another piece to his interpretations with this wonderful CD which is a foray into the most beautiful French songs. A disc that shows us the umpteenth facet of a great artist, capable of crossing genres with a unique style. Remarkable tenor in opera, extraordinary singer in all genres.  

He’d been wanting to record this repertoire for years. The result is an absolutely fascinating disc. An album which will easily find its audience and definitely a piece to owe if you are a popular music lover.

– Paul Thomas

Le Chanteur
Roberto Alagna

Serge Lama / Alice Dona
1. Le chanteur
Henri Contet / Norbert Glanzberg
2. Padam, padam
Jacques Prévert / Joseph Kosma
3. Les Feuilles mortes
Nino Rastelli / Dino Olivieri/ Louis Poterat
4. J’attendrai
Enrico Macias
5. Adieu mon pays
Umberto Bertini / Gordni Kramer / André de Badet
6. Un jour je te dirai
André de Badet / Armando Orefiche
7. Mayari
Charlys / Henry Himmel
8. Bohémienne aux grands yeaus noirs
Jacques Larue / Djago Reinhardt
9. Nuages
Jacques Plante / Louis Ferrari
10. Domino
Jacques Vérières / Marc Heyral
11. Mon pot’ le gitan
Eugène Gohin / Henry Himmel
12. Il pleut sur la route
Jean Boyer / Georges Van Parys
13. C’est un mauvais garçon
Roberto Alagna / Emanuel Schlechter / Jerzy Petersburski
14. Maniusiu, ach!
Jacques Brel / Gérard Jouannest
15. La chanson des vieux amants