May 2023
Lalo & Casals: Cello Concertos, presented by Sony Classica, is an enchanting exploration of the less-traveled paths within the realm of cello concertos. In a delightful departure from the familiar works of Dvořák, Elgar, Saint-Saëns, and Shostakovich, this album showcases Édouard Lalo’s renowned cello concerto and introduces audiences to an unknown masterpiece by Enrique Casals, the younger brother of the legendary Catalan cellist Pablo Casals.

Jan Vogler, the world-famous cellist, undertakes this musical journey with finesse and emotion, fulfilling the high expectations set by his previous performances. The album commemorates both the two hundredth anniversary of Édouard Lalo’s birth and the fiftieth anniversary of Pablo Casals’ passing, making it an homage to the celebrated composer and the iconic cellist.

The opening piece, Lalo’s cello concerto, unveils the genius of this Catalan composer. Vogler’s artistry masterfully portrays the seamless blending of German Romanticism and lively Spanish folk music in the concerto. The Prélude, with its bold and compelling energy, keeps the listener on the edge of their seat. Vogler skillfully maintains an undertow of foreboding, adding depth to the music’s contemplative nature. In the Intermezzo, the soloist effortlessly navigates between contemplation and dance-like passages, captivating the audience with every note. The Finale, a splendidly composed Rondo, begins with an achingly poignant threnody, later transitioning into a vibrant and colorful Spanish fiesta, brought to life by Vogler’s vivid interpretation.

Though the Lalo cello concerto has seen numerous interpretations over the years, Vogler’s performance stands tall among the greats. Lynn Harrell’s rendition on Decca remains a benchmark of passion and energy, but Vogler’s stylish and ebullient account deserves a place at the summit. His artistic prowess elevates this timeless masterpiece to new heights.

In an extraordinary twist, the album unveils the world premiere recording of Enrique Casals’ cello concerto. Written in F major with a subtitle, ‘In Romantic Serious Style,’ this hidden gem captivates from the outset. As the first movement bursts into life, Vogler takes us on a mesmerizing journey, conjuring images of the picturesque Sant Salvador coastline and the captivating Catalan landscape. The second movement, marked Adagio doloroso, showcases Vogler’s expressive prowess, rendering the lyrical writing with heartfelt emotion reminiscent of Brahms’ finest moments. The Finale: Tempo di sardana, inspired by the Catalan folk dance, brims with warmth and positivity, leaving the audience invigorated and spellbound.

Under the baton of the talented Josep Caballé-Domenech, the Moritzburg Festival Orchestra provides an impressive accompaniment. The Lukaskirche’s renowned acoustics, coupled with Sony’s first-class engineering, deliver a rich and immersive sound experience, further accentuating the brilliance of Vogler’s performance.

Vogler’s cello, the Stradivarius ex-Castelbarco, Fau (1707), lends a captivating and beautiful tone to the entire recording. Vogler’s skillful technique and innate musicality bring out the instrument’s soul, leaving the listener spellbound by his compelling performances.

Lalo & Casals: Cello Concertos is a riveting and captivating journey into the world of forgotten cello concertos. Jan Vogler’s virtuosic and passionate interpretations, supported by the brilliant Moritzburg Festival Orchestra, breathe new life into these neglected works. This album is a testament to the richness of classical music, unearthing hidden treasures that deserve a place in the hearts of music lovers worldwide.

May 2023
In an extraordinary display of musical prowess, Karina Canellakis takes the baton to lead the Netherlands Radio Philharmonic Orchestra in an exhilarating recording of Bartók’s timeless masterpieces – the “Concerto for Orchestra” and the “Four Orchestral Pieces.” Released under the renowned PentaTone label, this collaboration marks Canellakis’s highly anticipated debut as the orchestra’s Chief Conductor, and it does not disappoint.

The “Four Orchestral Pieces” open the album with a daringly spacious “Preludio” that oozes sensuous allure. Canellakis’s deft touch conjures an atmosphere reminiscent of Ravel’s magic, captivating the listener from the first note. As the music progresses, the second movement’s Scherzo bursts into play with delightful sarcasm, showcasing the orchestra’s prowess and obvious enjoyment under Canellakis’s spirited direction. The ensuing Moderato delivers a gentler, more distilled beauty, leaving listeners entranced by the Netherlanders’ captivating interpretation. The set reaches its climactic conclusion with a powerful funeral march, brimming with weighty emotion and delivered with Pentatone’s characteristic wide and deep soundstage.

The pièce de résistance of the album is, undoubtedly, Bartók’s “Concerto for Orchestra,” a crowning jewel of his illustrious career. Bursting with folk melodies and colors, this monumental work unleashes the full potential of each instrument, and Canellakis expertly harnesses the orchestra’s talent to bring Bartók’s vision to life. The first movement’s low string soliloquy strikes a surprisingly plain-spoken chord, albeit with an undercurrent of fearful apprehension. Canellakis’s masterful guidance encourages incisive playing, though the engineering occasionally softens the overall impact.

The second movement sets the stage for something truly remarkable. Taken at a slightly faster tempo, Canellakis infuses the music with sarcastic playfulness, revealing the orchestra’s joyful spirit. The “Elegia” that ensues casts a hauntingly forbidding aura, creating a perfect balance between the playful and the eerie. Canellakis’s meticulous attention to detail allows the inner textures of the orchestra to shine through, offering a deeply immersive listening experience.

The fourth movement bursts forth with vivid character, and the orchestra excels in conveying the caustic mockery that echoes Shostakovich’s seventh symphony. In the final movement, Canellakis unleashes the orchestra’s collective virtuosity, driving the music with a sense of urgency and passion. Despite occasional moments where the engineering softens the orchestra’s aggressive playing, the overall performance leaves a lasting impact, fueled by Canellakis’s enthusiasm and the orchestra’s commitment.

Comparisons with other notable recordings are inevitable, but Canellakis’s interpretation stands out for its unique charm and emotional depth. While Solti’s Chicago recording and Fischer’s Budapest Festival Orchestra version offer their own merits, Canellakis’s partnership with the Netherlands Radio Philharmonic Orchestra infuses the music with an invigorating spirit and a distinctive artistic voice.

PentaTone’s impeccable recording quality envelopes the listener in a sonic wonderland, seamlessly capturing the live performances without any distracting elements. Canellakis’s debut collaboration with PentaTone has yielded a thrilling album that showcases the brilliance of Bartók’s orchestral gems and marks a promising beginning for this exciting partnership. Brace yourself for an unforgettable journey through Bartók’s captivating world, brought to life by the consummate artistry of Karina Canellakis and the Netherlands Radio Philharmonic Orchestra.

May 2023
In his rendition of Ysaÿe’s “Six Sonatas for Solo Violin,” young Czech virtuoso Daniel Matejča delivers a commanding performance that showcases his technical prowess and keen interpretive skills. The album, released under the Supraphon label, presents a fresh perspective on these iconic works, offering listeners a blend of clarity and controlled emotion.

From the very first notes of the opening G minor Sonata, Matejča establishes his approach: one of penetrating focus and an unwavering commitment to a well-defined musical line. His choice to prioritize clarity over fantasy lends a sense of precision to his playing, emphasizing the structure and intricate details of each movement. While this approach might differ from the more exploratory interpretations by other violinists, such as Ibragimova’s rendition on Hyperion, Matejča’s deliberate style allows for a deep appreciation of the music’s inner workings.

The notable “Prelude Obsession” in Sonata No. 2 is a standout moment, as Matejča playfully captures the essence of fellow violinist Thibaud’s daily practice routine of Bach’s E major Partita. This whimsical touch adds a layer of humor and charm to the performance, creating a contrast to the fiery drama brought forth by James Ehnes on his rendition. In contrast, Matejča’s rendition of “Malinconia” is characterized by poignant simplicity, showcasing his ability to evoke deep emotional resonance with his instrument.

The heart of the album resides in the single-movement Third Sonata, dedicated to Enescu. Matejča masterfully navigates the brooding and sinuous narrative of this piece, demonstrating a level of assurance that belies his young age. This central piece serves as a showcase of Matejča’s ability to delve into the emotional core of Ysaÿe’s music and communicate it effectively to the listener.

In the Fourth Sonata, dedicated to Fritz Kreisler, Matejča brings a supercharged ardor to the performance, infusing the music with a sense of urgency and passion. However, his Presto movement, while skillfully executed, lacks the quicksilver effortlessness that Ibragimova’s interpretation on Hyperion exudes. The sixth sonata, with its virtuosic challenges, showcases Matejča’s technical command, although some of the enchanting magic that characterizes these works might occasionally seem lost in the midst of the demanding passages.

A notable addition to the album is Jana Vöröšová’s commissioned coda, which serves as a striking conclusion to the set. This piece beautifully encapsulates the lingering emotions that reverberate in the air after a performance of Ysaÿe’s mesmerizing compositions.

In sum, Daniel Matejča’s interpretation of Ysaÿe’s “Six Sonatas for Solo Violin” is a commendable endeavor that offers a fresh perspective on these enduring works. His emphasis on clarity and deliberate expression provides listeners with a unique lens through which to appreciate the intricate craftsmanship of Ysaÿe’s compositions. While some moments may lack the sheer fantasy of other interpretations, Matejča’s bold and impressive performance ensures that these sonatas continue to captivate audiences and serve as a testament to the enduring art of solo violin music.

May 2023
In a world forever changed by the pandemic, Minsoo Hong’s “Moment of Eternity” emerges as a beacon of artistic solace. With introspective depth and virtuosic mastery, Hong takes the listener on a journey through the minds of composers who found inspiration in adversity. This album is a testament to the power of music to transcend time and circumstance, allowing us to touch the sublime even in the darkest hours.

The album opens with Franz Liszt’s exquisite compositions inspired by two saints who shared his name. Hong’s interpretation unveils a rich palette of colors, drawing the listener into Liszt’s world where nature, spirituality, and human endeavor converge. The pianist’s nuanced touch brings to life the contrast between serenity and turmoil in “St Francis of Assisi Preaching to the Birds” and the awe-inspiring spectacle of “St Francis of Paola Walking on the Waters.” The juxtaposition of quiet introspection and explosive passion showcases Hong’s deep understanding of Liszt’s complex emotional landscapes.

Hong’s technical prowess shines brilliantly in Karol Szymanowski’s “Masques, Op.34.” A tapestry of tonal colors unfolds as he delicately navigates through Szymanowski’s dreamlike compositions. The quiet and introspective nature of the music demands a refined touch, and Hong delivers flawlessly, capturing the elusive essence of the pieces. With each note, he paints portraits of Schéhérazade, Tristan, and Don Juan, as if glimpsed through a delicate veil of imagination.

The album’s centerpiece, Robert Schumann’s “Carnaval,” takes us into a whirlwind of emotions, as intricate and diverse as a masked ball. Hong masterfully brings to life the vibrant characters that dance through Schumann’s musical pages. From the playful virtuosity of Chopin and the enigmatic allure of Paganini to the melancholic introspection of Eusebius and the fiery spirit of Florestan, Hong’s interpretation captures the essence of each persona with stunning clarity. His ability to seamlessly transition between contrasting moods within a single composition is a testament to his deep artistic sensitivity.

Minsoo Hong’s performance on “Moment of Eternity” is a triumph of technical excellence, emotional depth, and interpretive artistry. His touch, whether gentle or thunderous, brings out the full spectrum of emotions embedded within the music. This album is a captivating exploration of the human experience, from the serene moments of introspection to the exhilarating heights of passion.

The recording quality enhances the experience, capturing both the delicate nuances and the powerful climaxes with remarkable fidelity. Hong’s dynamic range is superbly captured, allowing the listener to fully appreciate the full breadth of emotions he conveys.

In conclusion, “Moment of Eternity” is an outstanding album that resonates deeply with the challenges and triumphs of our times. Minsoo Hong’s artistry transforms the piano into a canvas where emotions are vividly painted and stories come alive. This recording is a true treasure, offering a musical sanctuary where listeners can immerse themselves in the timeless beauty of these compositions. An excellent disc that stands as a testament to Minsoo Hong’s remarkable talents and the enduring power of music.

April 2021
Ludovic Tézier’s latest album of Verdi baritone arias, released by Sony Classical, is a showcase of the singer’s versatility and mastery in embodying an array of complex characters. Tézier effortlessly navigates the diverse emotional landscapes demanded by the repertoire, delivering powerful and nuanced performances throughout.

From the very first notes of “Morir! Tremenda cosa!” from La forza del destino, Tézier establishes his authority and command over the music. His richly burnished voice, imbued with emotion, captivates the listener, drawing them into the world of each character he portrays. The selections range from the vengeful Ford in Falstaff to the passionate Il Conte di Luna in Il Trovatore, showcasing the breadth of Tézier’s vocal and dramatic prowess.

Particular highlights of the album include the emotionally charged aria of the dying Rodrigue/Rodrigo from Don Carlos/Carlo, presented in both its French and Italian versions. Tézier’s ability to convey psychological depth and vocal shading in these arias adds an extra layer of authenticity to his portrayals. Supported by the Orchestra del Teatro Comunale di Bologna, conducted by Frédéric Chaslin, the performances are enriched with expressive instrumental lines that complement Tézier’s singing beautifully.

While Tézier’s interpretation is compelling across the board, his mastery shines brightest in the arias that demand intricate psychological nuances. His portrayal of Rigoletto in “Cortigiani, vil razza dannata” is particularly noteworthy, capturing the character’s malice with dramatic flair. However, the galloping tempo chosen for this aria, though lively, occasionally threatens to overpower Tézier’s voice, slightly skewing the balance in favor of the orchestra.

Having received rave reviews for his performance alongside esteemed singers Kaufmann and Netrebko in La forza del destino at Covent Garden in 2019, Tézier’s foray into Verdian repertoire has been a highly anticipated event. This album serves as a testament to his artistry and opens the door to the possibility of future performances in the UK and beyond. Audiences can eagerly anticipate Tézier’s interpretation of meaty Verdian roles like Iago, Germont, and Macbeth, certain to be a captivating and enthralling experience.

 Ludovic Tézier’s Verdi Arias album is a brilliant showcase of the singer’s talent and versatility. By delving into the less explored corners of Verdi’s repertoire, Tézier breathes new life into these baritone arias, captivating listeners with his profound and nuanced portrayals. With expressive support from the Orchestra del Teatro Comunale di Bologna under Frédéric Chaslin’s baton, this album is a must-listen for all aficionados of Verdi’s masterful operatic world.

April 2023
In the realm of classical music, countertenors have been fervently vying to step into the shoes of renowned vocalists like Jaroussky and Scholl. In his sophomore album release, “Amore Dolore,” Nicolò Balducci not only stands out from the throng of young countertenors but also establishes himself as a formidable force in the world of Baroque vocal artistry. Balducci’s carefully curated selection of material on this album masterfully accentuates his vocal prowess and distinctive style.

One of the album’s striking attributes is its fresh repertoire, which sets it apart from the ordinary. Balducci delves into compositions by lesser-known Baroque luminaries such as Riccardo Broschi and Egidio Romualdo Duni. Alongside these hidden gems, Balducci breathes new life into some lesser-explored Vivaldi arias. The orchestral backdrop provided by the Baroque Academy Gothenburg Symphony, under the dynamic direction of Dan Laurin, adds a vibrant and exhilarating layer to the recording. Laurin’s own expertise as a recorder virtuoso seamlessly integrates with the ensemble’s spirited performance, as evidenced in Vivaldi’s “Sol da te, mio dolce amore” from Orlando Furioso.

However, the true centerpiece of “Amore Dolore” is undoubtedly Nicolò Balducci himself. While there may be more powerful and purely beautiful countertenor voices in the domain, Balducci possesses an elusive quality that sets him apart—a sense of spontaneous expression reminiscent of the allure that once captivated audiences during the era of the castrati. Balducci employs a distinctive technique of opening phrases with a no-vibrato edge, daringly extending them beyond the comfort zone before allowing his voice to unfurl in opulent bloom. His vocal flair, characterized by subtle yips and entrancing whoops interwoven with the notated lines, adds an enchanting layer to his interpretations.

Unlike some of his self-absorbed contemporaries, Balducci demonstrates a keen sensitivity to the textual nuances of the works he performs. His meticulous attention to the lyrical content enhances the emotional resonance of his renditions. Furthermore, Balducci’s vocal agility shines brilliantly, as exemplified in his rendition of Vivaldi’s “Nel profondo cieco mondo” from Orlando Furioso, where he skillfully navigates the depths and heights of the piece with remarkable precision.

The material chosen for “Amore Dolore” serves as an ideal canvas upon which Balducci’s talents are beautifully painted. The resulting performances are nothing short of captivating, although the only minor quibble lies in the occasionally over-resonant church acoustic that subtly detracts from an otherwise impeccable auditory experience.

 Nicolò Balducci’s “Amore Dolore” is a testament to his burgeoning status as a countertenor to watch. His distinctive vocal approach, artful interpretation, and thoughtful selection of repertoire converge to create a compelling musical journey. As Balducci continues to refine his craft, his future endeavors hold the promise of further enriching the world of Baroque vocal music.

John Wilson and his Sinfonia of London continue to demonstrate their artistic versatility and dedication to presenting diverse musical landscapes. Their latest release, a unique addition to their repertoire, centers around the evocative “Metamorphosen: Korngold, Schreker, Strauss.” This album, rich in historical and emotional significance, showcases the conductor’s discerning musical tastes and the ensemble’s exquisite virtuosity.

The focal point of the album is Richard Strauss’s poignant and introspective “Metamorphosen for 23 Solo Strings.” Composed during a period of profound post-war reflection, the piece serves as Strauss’s elegiac response to the cultural devastation wrought by World War II. John Wilson and his ensemble delve deeply into the piece’s intricate counterpoint and emotional depth, offering a performance brimming with expressive power. Chandos’s impeccable multi-channel recording captures every nuance and intricacy, ensuring that even the densest passages retain their clarity. Wilson’s interpretation infuses the music with emotional fervor, making this rendition stand out among other notable versions.

Following the resounding impact of Strauss’s work, the album delves into the works of two composers whose lives were tragically shaped by the political turmoil of 1930s Europe. Franz Schreker’s “Intermezzo, Op. 8 for String Orchestra” emanates lyrical charm, revealing a facet of the composer’s style that predates his later expressionistic tendencies. The Sinfonia of London delivers this piece with eloquence and sensitivity, honoring Schreker’s artistry while offering a glimpse into his lesser-known compositions.

Erich Wolfgang Korngold, a composer who found refuge in Hollywood after fleeing Europe, is represented by his “Symphonic Serenade Op. 39 for String Orchestra.” This ambitious work, written in 1947-48, showcases Korngold’s desire to reestablish his reputation in mainstream composition after the war. The intricate tapestry of strings, featuring a large complement of 64 players, is skillfully and imaginatively navigated by Wilson and his ensemble. Noteworthy is the virtuosic “Intermezzo,” played almost entirely pizzicato, and the deeply moving “Lento religioso,” both masterfully interpreted by Wilson. Chandos’s multi-channel SACD format brings a new dimension to the album, capturing the acoustic nuances of the recording venue and immersing listeners in a captivating sonic experience.

Recorded at the Church of St. Augustine, Kilburn, the album benefits from Chandos’s recording engineers’ expertise, resulting in a sound stage that is immersive, detailed, and resonant. The historical significance of these works, combined with the exceptional performances and recording quality, makes this release an essential addition to any classical music collection. John Wilson and the Sinfonia of London’s dedication to exploring lesser-known gems and delivering compelling interpretations make “Metamorphosen: Korngold, Schreker, Strauss” a highly recommended album that resonates with both musical enthusiasts and those seeking profound emotional depth in orchestral compositions.

April 2023
Maria Ioudenitch, the talented winner of the Joseph Joachim International Violin Competition in 2021, makes a remarkable debut with her album “Songbird.” Collaborating with pianist Kenny Broberg and soprano Theresa Pilsl, Ioudenitch’s violin performance is marked by its captivating vocal quality, reminiscent of a bygone era. This collection, released under Warner Classics, offers a tastefully curated assortment of 19th- and 20th-century pieces, showcasing Ioudenitch’s expressive musicianship and Broberg’s nuanced accompaniment.

The album’s opening sets the tone with Schubert’s Fantasie in C, D934. Ioudenitch’s rich and resonant tone immediately draws listeners into a world of intricate melodies and emotional depth. Her instrument, a 1691 Guarneri, contributes to the album’s warm and enveloping sonic palette, amplified by the resonant acoustic of the recording space. Broberg’s sensitive piano playing complements Ioudenitch’s violin beautifully, forming a harmonious partnership that underpins the entire recording.

Throughout “Songbird,” Ioudenitch’s approach is both technically adept and emotionally engaging. She skillfully captures the essence of vocal expression, a hallmark of her inspiration from the human voice. The inclusion of transcribed songs allows her to explore a wide spectrum of emotions. In Rachmaninov’s “Don’t sing, my beauty, for me,” Ioudenitch masterfully conveys the piece’s melancholic longing and impassioned intensity. Fanny Mendelssohn’s “Erwin” sees Ioudenitch’s violin become a voice of its own, as if engaged in a lyrical conversation.

The album’s diverse selection ranges from the familiar to the lesser-known. Notably, Nadia Boulanger’s “Soleils couchants” adds a delightful touch of rarity to the program. The inclusion of Clara and Robert Schumann’s Romances and Amy Beach’s pieces without words offer glimpses into different compositional styles and cultural influences.

Ioudenitch’s interpretation of Medtner’s works demonstrates her ability to infuse violin and piano pieces with a sense of collaborative dialogue, rather than a mere accompaniment. This approach is most striking in the more substantial centerpiece, Schubert’s four-movement Fantasie in C. Here, Ioudenitch and Broberg navigate the piece’s complex structure with intelligence and artistic sensitivity.

The album’s titular track, Glinka’s “L’Alouette (The Lark),” showcases Ioudenitch’s ability to evoke avian melodies and virtuosic passages, demonstrating her versatility as a “songbird” of the violin. As a captivating conclusion, the album culminates in Strauss’s “Morgen,” where Ioudenitch’s violin seamlessly intertwines with Theresa Pilsl’s radiant soprano, illuminating the inherent vocal qualities of the instrument.

In “Songbird,” Maria Ioudenitch, along with her accomplished collaborators, offers a unique and compelling musical journey. Her violin sings with eloquence, capturing the essence of the human voice and inviting listeners to immerse themselves in a world of evocative melodies and profound emotions. This debut album showcases Ioudenitch’s promising artistry and bodes well for her future endeavors in the world of classical music.

April 2023
Daniel Lozakovich, a rising star in the world of classical violin, has once again graced us with a digital-only recital album that pays homage to some of the most remarkable interpreters of the violin in recent centuries. Released under the prestigious Deutsche Grammophon label, “Spirits” is a captivating journey through time, skillfully bridging the past with the present.

Lozakovich’s innovative approach to “Spirits” unveils a bridge between generations, with each track an evocative homage to legendary violinists who have left their mark on musical history. This album isn’t just a collection of pieces; it’s a profound tribute to the very essence of these past masters, reimagined through Lozakovich’s distinct lens.

In the haunting strains of Debussy’s “Clair de lune,” Lozakovich conjures the spirit of David Oistrakh, whose silk-spun sound is woven into every note. His violin sings with an expressive sweetness, while his nuanced phrasing transports us to a bygone era.

Jascha Heifetz’s electrifying presence is channeled through Lozakovich’s bow in Gluck’s “Mélodie” from “Orfeo ed Euridice.” The fiery, biting zest of Heifetz reverberates through every stroke, commanding attention and infusing the piece with a passionate energy.

Elgar’s “La Capricieuse” resonates with the soulful depth associated with Josef Hassid, and Lozakovich captures this emotive essence effortlessly. His violin seems to sigh and sing, weaving a tapestry of emotion that pays homage to Hassid’s artistry while imbuing it with his own distinct hues.

While “Spirits” is a captivating tribute, it also showcases Lozakovich’s artistic versatility. In Falla’s “Danse espagnole No. 1,” his playing is bold and vivacious, offering a delightful departure from his more introspective moments. Brahms’s Hungarian Dances (Nos 2 and 6) reveal a carefully controlled interpretation, allowing the listener to revel in the intricate textures of the music.

Kreisler’s “Liebesleid” is a mesmerizing highlight, where Lozakovich channels the essence of the violinist-composer’s rubato technique. The piece unfolds with graceful ebbs and flows, captivating the listener with its simplicity and elegance.

The album’s impeccable production quality is a testament to the artistry involved. Lozakovich’s performance was captured within the hallowed halls of the Louis Vuitton Foundation’s museum and cultural center in Paris, utilizing a 1727 Stradivarius. The result is a sound that envelops the listener, allowing them to be fully immersed in the world of “Spirits.”

In “Spirits,” Daniel Lozakovich embarks on a journey through time, capturing the essence of revered violinists and infusing their spirits into his own interpretations. This album is a resounding testament to the enduring power of music—a reminder that the past is alive and resonant in the hands of a gifted musician. “Spirits” beckons listeners to surrender to its evocative embrace and experience the magic of transcending eras through sound.

March 2023
The album “Femmes” is a commendable attempt to shine a spotlight on the works of 23 female composers, spanning a diverse range of musical periods and styles. Led by cellist Raphaela Gromes, pianist Julian Riem, and the Festival Strings Lucerne under the direction of Daniel Dodds, the performances are characterized by vivacity and technical finesse. However, despite its well-intentioned endeavor, the album falls somewhat short of its aspirations, inadvertently reinforcing rather than dispelling the notion that female composers produced primarily lightweight and inconsequential compositions.

While the album includes pieces by notable female composers such as Hildegard, Lili Boulanger, and Clara Schumann, as well as unexpected names like Mozart and Purcell, the selection leans toward shorter, less substantial works. This choice inadvertently undermines the depth and ingenuity that these composers were capable of, overshadowing their larger and more impactful compositions. The presence of Georges Bizet’s Carmen Fantasy as the longest single work on the album further contributes to the irony of the situation, as it undermines the primary objective of showcasing female compositional prowess.

The strength of the album lies in its execution of delicate nocturnes by composers like Lili Boulanger, Cécile Chaminade, and Henriëtte Bosmans. These miniature gems offer moments of delight, albeit without fully revealing the potential of the featured composers. Notably absent are more significant works that would have better showcased the depth and creativity of composers like Luise Adolpha Le Beau and Grazyna Bacewicz, who are recognized for their groundbreaking contributions to the world of classical music.

Unfortunately, the album misses the opportunity to include larger, more intricate compositions that would challenge the prevailing narrative of female composers producing only fleeting and superficial pieces. In doing so, it inadvertently reinforces the very stereotype it seeks to challenge. The omission of substantial works by contemporary composers like Elisabeth Maconchy, Kaija Saariaho, and Dobrinka Tabakova is a puzzling oversight, one that could have elevated the album to a new level of artistic and intellectual exploration.

Despite these shortcomings, the performances on “Femmes” are marked by Raphaela Gromes’s effervescent playing style, capturing the spirit of the compositions with enthusiasm and skill. Julian Riem’s piano work complements Gromes’s cello beautifully, and the collaboration with Festival Strings Lucerne is consistently engaging and dynamic.

“Femmes” is a well-intentioned album that sets out to celebrate the works of female composers throughout history. While the performances are executed with finesse and passion, the album’s focus on shorter, less substantial pieces inadvertently undermines its noble goal. By excluding more substantial and innovative compositions, the album falls short of fully challenging the historical narrative it seeks to address. As a result, “Femmes” remains a missed opportunity to truly showcase the exceptional contributions of female composers and their lasting impact on classical music.