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

November 2020
This album released by Sony Classical was the American organist Cameron Carpenter first orchestral recording, and also his first live concert recording. This release features an original Rhapsody version of a song by Rachmaninoff’s Paganini, recorded live at Berlin’s Konzerthaus, alongside Poulenc’s Popular Concerto for Organ, Strings and Timpani. The album program is completed by Vierne’s Organ Symphony No. 1, recorded live as the encore for the concert. Carpenter is accompanied by the Konzerthausorchester Berlin under the direction of renowned director Christoph Eschenbach.  

The artist’s adaptation for organ and orchestra of the Rhapsody on a theme by Rachmaninov’s Paganini demonstrates Carpenter’s exemplary musical ability.  This is not an easy task indeed, because of the complexity involved in combining the orchestra with a solo instrument of equal or superior possibilities. However, Carpenter’s version is perfectly balanced, with no relevant interferences and just right to meet his personality and his manual and pedal technique. The Rachmaninov’s piece keeps the original essence but with a new fresh spirit. Carpenter performs with great control and artistry, and at the same time he takes our breath away leading us to feel the unbridled romanticism of the work. 

Poulenc’s concerti is considered one of the most popular of organ concerti and affecter this recording it definitely became even more well known. Carpenter, now as a rigorous soloist, masters it amazing us once again with his incredible technique.  

Maybe the weakest point of the recording is The Vierne where we can spot an over elongation of the musical line and the frequent change in tonal registrations and the tempi which doesn’t seem to match with the original work. 

The orchestra accompaniments under the artistic and creative direction of Mr. Christoph Eschenbach become a crucial part of the performance. They sound precise and clear and in complete synchronization with the organist.  

We must also point out the superb recording quality of the CD which totally gives protagonism to the organ in this tonal combination of organ and orchestra. The sound jumps out of the digital world into your space with power and motion. 
The 14 pages booklet also contain the detailed explanations of this fine M&O Touring Organ and is the first time that they have been published. We definitely recommend you to use a good stereo System to enjoy this Jewel CD to the fullest!

– Clara Horner

Rachmaninoff. Rhapsody on a theme of Paganini
Cameron Carpenter

Sergei Rachmaninoff
1. Rhapsody on a Theme of Paganini, Op.43: Introduction: Allegro vivace – Variation I: Precedente
2. Rhapsody on a Theme of Paganini, Op.43: Theme: L’istesso tempo
3. Rhapsody on a Theme of Paganini, Op.43: Variation 2: L’istesso tempo
4. Rhapsody on a Theme of Paganini, Op.43: Variation 3: L’istesso tempo
5. Rhapsody on a Theme of Paganini, Op.43: Variation 4: Più vivo
6. Rhapsody on a Theme of Paganini, Op.43: Variation 5: Tempo precedente
7. Rhapsody on a Theme of Paganini, Op.43: Variation 6: L’istesso tempo
8. Rhapsody on a Theme of Paganini, Op.43: Variation 7: Meno mosso, a tempo moderato
9. Rhapsody on a Theme of Paganini, Op.43: Variation 8: Tempo I
10. Rhapsody on a Theme of Paganini, Op.43: Variation 9: L’istesso tempo
11. Rhapsody on a Theme of Paganini, Op.43: Variation 10: L’istesso tempo
12. Rhapsody on a Theme of Paganini, Op.43: Variation 11: Moderato
13. Rhapsody on a Theme of Paganini, Op.43: Variation 12: Tempo di minuetto
14. Rhapsody on a Theme of Paganini, Op.43: Variation 13: Allegro
15. Rhapsody on a Theme of Paganini, Op.43: Variation 14: L’istesso tempo
16. Rhapsody on a Theme of Paganini, Op.43: Variation 15: Più vivo scherzando
17. Rhapsody on a Theme of Paganini, Op.43: Variation 16: Allegretto
18. Rhapsody on a Theme of Paganini, Op.43: Variation 17: Allegretto
19. Rhapsody on a Theme of Paganini, Op.43: Variation 18: Andante cantabile
20. Rhapsody on a Theme of Paganini, Op.43: Variation 19: A tempo vivace
21. Rhapsody on a Theme of Paganini, Op.43: Variation 20: Un poco più vivo
22. Rhapsody on a Theme of Paganini, Op.43: Variation 21: Un poco più vivo
23. Rhapsody on a Theme of Paganini, Op.43: Variation 22: Marziale: Un poco più vivo Alla breve
24. Rhapsody on a Theme of Paganini, Op.43: Variation 23: L’istesso tempo
25. Rhapsody on a Theme of Paganini, Op.43: Variation 24: A tempo un poco meno mosso
26. Rhapsody on a Theme of Paganini, Op.43: Più vivo
Francis Poulenc
27. Concerto for organ, timpani and strings in G minor FP 93: I. Andante
28. Concerto for organ, timpani and strings in G minor FP 93: II. Allegro giocoso
29. Concerto for organ, timpani and strings in G minor FP 93: III. Subito Andante Moderato
30. Concerto for organ, timpani and strings in G minor FP 93: IV. Tempo Allegro. Molto Agitato
31. Concerto for organ, timpani and strings in G minor FP 93: V. Très calme. Lent
32. Concerto for organ, timpani and strings in G minor FP 93: VI. Tempo de l Allegro initial
33. Concerto for organ, timpani and strings in G minor FP 93: VII. Tempo Introduction – Largo
Louis Vierne
34. Organ Symphony No. 1 in D minor, Op. 14: VI. Finale

November 2020
The CD was recorded by the young virtuoso, Benjamin Grosvenor, with the help of conductor Elim Chan at the lead of the Royal Scottish National Orchestra. As the notice states, “one could summarize Benjamin Grosvenor’s rapid rise to the top in a litany of superlatives.” 

The poetic rhyme and spontaneity are repeatedly found throughout these two scores, very well brought to life by Grosvenor. His admirable technique with the right tone and intensity is just mesmerizing. 

The movements succeed in a colorful lyricism as well as eloquent virtuosism. The orchestra glows in sparkling lights, providing a gentle and rhythmic background to the soloist, in which Grosvenor pours all his virtuosity leading us though Chopin’s magnificent music, at once melancholy, fanciful and vigorous. The artists great sensitivity and deep charm is fully revealed in Opus 11, where he gives the Larghetto a refined dreamlike setting in which the listener will feel deeply immersed. The other two movements are confidently performed letting us enjoy the artist’s gifted abilities but without overload or mannerism.  

Grosvenor shines in Opus 21 eagerly delving into lines that seem improvised, with enthusiasm, dynamism and explicit chromatism.  He delights us with a vehement sound that fluidly goes through a song of pearly in a flawless execution, at the top of the pianistic gesture.  

Of the two Concertos, it is above all n° 1 that blows us away from the beginning to the end. His first movement Allegro maestoso admirably articulated, is performed with great passion and lyricism. Benjamin Grosvenor leads us in this intimate Chopinian immersion, all the way to the ultimate achievement of the author: the Andante spianato and Grande Polonaise brillante opus 22 (1836). The work is deeply charged with the nostalgic feeling that Chopin wanted to transmit, and Grosvenor’s interpretation makes it palpable to us. The incredible romantic maturity in which the artists perform the E minor is full of passion that flows through all the piece and goes straight to the listeners’ hearts. 

At the lead of the Scottish National, Elim Chan confirms his talent of attentive support, even if certain accents sometimes ring a little too rough. Nevertheless, this recording made in Glasgow places Grosvenor / Chan among the best modern versions of Chopin’s concertos.

– David Gutman

March 2020
When a musical treasure trove is unearthed, it is a cause for celebration among classical enthusiasts. Such is the case with Raphaela Gromes and Julian Riem’s captivating album, featuring Richard Strauss’ Cello Sonatas. The centerpiece of this recording is the Cello Sonata in F Major Op. 6, a work that has held a special place in the hearts of cellists and music aficionados for years. However, what makes this release truly exceptional is the inclusion of the world premiere recording of the previously unknown, original first version of the sonata, composed in 1881.

Gromes and Riem’s relationship with Strauss’ Cello Sonata Op. 6 dates back to 2012 when they incorporated it into their concert repertoire. Learning of the existence of an earlier, radically different iteration of the piece sparked their curiosity, and their dedication to bringing this musical relic to life is evident in their performances.

The album immerses listeners in a fascinating juxtaposition of two versions of the same work. The side-by-side presentation of the original 1881 version and the more familiar 1883 revision allows listeners to trace the evolution of Strauss’ creative process. This approach offers a unique opportunity to appreciate the composer’s artistic growth and the transformative impact of his revisions. Gromes and Riem guide us through these musical time capsules with an expert touch, ensuring that the nuances and contrasts between the versions are vividly brought to life.

The true revelation of this album is the early version of the Cello Sonata, bursting with youthful exuberance and innovation. Gromes’ cello sings with a radiant tone, beautifully complemented by Riem’s sensitive and dynamic piano accompaniment. The artists breathe life into every phrase, infusing the music with a sense of freshness and spontaneity that is truly captivating. The Cello Sonata’s charm is further enhanced by the eloquent dialogue between the cello and piano, demonstrating the profound musical connection between Gromes and Riem.

Beyond the sonatas, the album also treats us to beguiling song arrangements that showcase the depth and versatility of Strauss’ compositional voice. The performances are exquisitely detailed, capturing the subtleties of the music and reflecting the artists’ genuine love for the material.

Raphaela Gromes and Julian Riem’s exploration of Richard Strauss’ Cello Sonatas is a musical journey of discovery and rediscovery. Their commitment to sharing the lesser-known version of the Op. 6 Cello Sonata is commendable, and their performances shed light on a side of Strauss that has long remained hidden. As we are presented with a delightful blend of the familiar and the newly unveiled, this album stands as a testament to the enduring power of music and the art of interpretation. “Recommended” does not begin to capture the depth of this recording; it is a must-listen for anyone seeking a fresh perspective on Strauss’ legacy.