March 2022
Prepare to be captivated by this splendid disc of piano works by Grazyna Bacewicz, expertly performed by Peter Jablonski. For both piano enthusiasts and admirers of twentieth-century music, this album is a delightful journey into the artistic genius of a highly distinguished composer. While Bacewicz may be more recognized for her solo violin pieces, her talent for creating evocative keyboard sonorities and colors shines through in this collection.

Drawing from the rich Polish musical tradition, Bacewicz follows in the footsteps of great predecessors like Chopin and Szymanowski. However, she successfully infuses her compositions with an energetic and forceful personality that sets her apart. The two piano sonatas presented on this album are remarkable works that showcase her brilliance.

The second sonata, said to be Bacewicz’s favorite piano piece, has been recorded by various artists, including the notable Krystian Zimerman for DG. However, Jablonski’s interpretation fearlessly competes with the best. The sonata consists of three strongly etched movements, with the outer ones exuding energy and power. Jablonski masterfully captures the dynamism of these movements, particularly the exhilarating Toccata, while offering a moment of poignant lyricism in the central Largo. The emotional depth and complexity of the First Sonata, recently published and edited by Jablonski himself, leave a lasting impression on listeners.

The two sets of etudes are equally enchanting, with most pieces exuding vivacity, while a few introspective ones add depth to the collection. These etudes not only present technical challenges for performers but also offer captivating musical ideas. Bacewicz’s expertise in harmony shines through, skillfully blending the spiky and dissonant with the traditionally consonant, keeping the music moving forward with purpose.

Despite not being a “tunesmith” in the conventional sense, Bacewicz’s compositions offer a musical language that engages the listener’s mind and heart. The time and attention devoted to these pieces are rewarded with a rich and fulfilling experience. From start to finish, this first-rate disc demands to be listened to without hesitation.

Peter Jablonski’s excellent interpretations and Ondine’s gorgeous sonics further elevate this recording. Jablonski’s deep understanding of Bacewicz’s music shines through in every note, breathing life into these remarkable compositions. Ondine’s recording quality captures the nuances and subtleties of Jablonski’s performance, making the listening experience even more enjoyable.

This is a must-have album for any lover of classical piano music and admirers of twentieth-century compositions. Grazyna Bacewicz’s remarkable talent and unique voice are beautifully presented through Jablonski’s heartfelt interpretations. This recording is bound to win over many new fans, thanks to its captivating performances and the exceptional audio quality provided by Ondine.

March 2022
Leonidas Kavakos, an exclusive Sony Classical artist, has taken on a monumental task with his latest release, “Bach: Sei Solo,” his first account of Bach’s Sonatas and Partitas for Solo Violin. The title “Sei Solo” not only describes the work itself (“six solos”) but also reminds the performer of the challenge they face—being utterly alone.

Kavakos rises to this challenge with grace and finesse. His performance exhibits a firm grasp of the rhythm, yet he avoids sounding mechanical or metronomic. In the Double of the Courante, he expertly weaves the intricate web of notes into well-formed phrases, showcasing an impressive breadth and integrity of structure. Every line is sharply etched, and Kavakos pays meticulous attention to balancing the voices, resulting in a captivating rendition – as noted by Gramophone Magazine.

While Kavakos’ rendition of the G minor Sonata and B minor Partita may appear less polished and more austere when compared to his earlier 2005 ECM recordings, further listening reveals a keen sense of control and purposeful shaping within the music’s fragile nature. Notably, the G minor and C major Fugues and the D minor Chaconne exhibit multi-leveled soft dynamics and deft transitions, contributing to the interpretation’s assiduous momentum.

In the A minor Sonata’s Andante movement, Kavakos displays microscopic attention to detail, which, for some listeners, might come across as overly meticulous and disjointed when compared to more direct and fluent period performances. This contrast is particularly noticeable in comparison to interpretations by Sergiu Luca or more traditional-minded violinists like James Ehnes, Uto Ughi, Nathan Milstein, and Itzhak Perlman. Nevertheless, Kavakos’ dedication to his vision is evident, and his execution is flawless.

 Kavakos’ performance exudes solitude and precision, bringing forth a unique interpretation steeped in period performance influences. While some listeners might appreciate the microscopic attention to detail, others may prefer more traditional renditions. Nonetheless, Kavakos’ commitment to his artistic vision is unquestionable, making “Bach: Sei Solo” a noteworthy addition to his discography.

February 2022
The American Project” presents pianist Yuja Wang accompanied by the Louisville Orchestra, conducted by Teddy Abrams, in an exploration of a unique blend of jazz and classical music. The CD includes two notable works, Abrams’s Piano Concerto and Michael Tilson Thomas’s “You Come Here Often?,” both of which showcase Wang’s technical prowess and versatility as a musician.

In Teddy Abrams’s Piano Concerto, intended as a companion piece to Gershwin’s “Rhapsody in Blue,” Wang’s performance is undeniably skillful, though it occasionally leaves something to be desired. Throughout the piece, she dazzles with her nimble fingers and command of the instrument, especially in the intricate cadenzas and funky ostinatos. However, while she navigates the contrasting elements of jazz-meets-classical with ease, there are moments where her interpretation feels somewhat restrained, lacking the full emotional depth that the music demands.

The swinging overture and blues riff in the concerto offer glimpses of excitement and energy, but the overall expression seems to fall short in capturing the essence of the music’s potential. It almost feels as though Wang plays it safe, adhering to technical brilliance while missing opportunities to truly immerse herself in the rich tapestry of emotions within the piece.

The collaboration between Yuja Wang and the Louisville Orchestra, under the baton of Teddy Abrams, is solid, but at times, it lacks the spark that could have taken the performance to a higher level. The partnership between Wang and Abrams, both long-time friends and colleagues from their studies at the Curtis Institute of Music, is evident, but it seems that they could have taken more risks and ventured deeper into the jazz-inspired elements to create a more captivating experience.

Michael Tilson Thomas’s “You Come Here Often?” offers a momentary respite on the CD, with its playful and light-hearted character. Wang’s execution of the solo piece is commendable, with her technical finesse and ability to traverse between soft jazz sections and the barnstorming ending. However, the performance falls somewhat short in terms of emotional connection, leaving the listener wanting for more profound engagement.

In conclusion, “The American Project” presents Yuja Wang as a highly skilled and versatile pianist, capable of navigating the complexities of jazz and classical fusion. While her interpretations in the CD are undeniably fine, they may not fully satisfy those seeking a more profound and emotionally immersive experience. The collaboration between Wang and the Louisville Orchestra is solid, but it lacks the daring and adventurous spirit that could have elevated the performances to greater heights.

“The American Project” is worth listening to for those who appreciate technical brilliance and the blending of jazz and classical music. However, for those seeking a truly transformative and emotionally charged interpretation, this CD may not fully meet those expectations.

February 2022
Yo-Yo Ma, the world’s most renowned cellist, has recorded for the last time Bach’s Suites for Cello, masterpieces that have become his inseparable companion in his musical career for six decades. His father, a violinist, taught him Suite no. 1, beat by beat, when he was four years old and that memory is very vivid in him. Yo-Yo Ma aims to achieve the maximum diffusion to the musical works that marked a before and after in his personal and musical career. 

After a long and successful musical career, he has never lost his fascination for suites and is more convinced than ever of its universal appeal. That intimate relationship with the suites evolved in The Bach project, a two-year 36-city international tour. 

Ma invites you to enjoy music without labels. In fact, his interpretation of the Bachian suites, far from the stylistic rigor of the versions made with instruments of that period and the original criteria, is marked by his vehement temperament, with which he gives personality and lights up the dances in each suite.  

Through the years Ma’s tempos have remained very steady, although some critics have pointed out that his Courante of no.2 seems excessively fast and no.5 in can be found drastic in content and performance. He particularly excels in the readings of the Preludes, going from the well-shaped no.1 to the solemn no.2 and the pure brilliance of nos.5 and 6. 

Vigorous sound, energetic contrasts and Dynamics yet elegant and delicate in the pianissimos. The aerial interpretations of the preludes manifest his polished and peaceful expressiveness, and almost bitter in the gigues that close each suite. 

Yo-Yo Ma’s multifaceted career is la living prove of his continuous search for new ways to communicate with the public and his personal desire for artistic growth and renewal. And anybody who listens this new CD will clearly understand and hopefully share his pure love for those brilliant and enchanting suites.  

– David Gutman

SIX EVOLUTIONS – BACH: CELLO SUITES
YO-YO MA

Johan Sebastian Bach
1. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: I. Prélude  
2. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: II. Allemande  
3. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: III. Courante
4. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande 
5. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II 
6: Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue  
7. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude  
8. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande  
9. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: III. Courante  
10. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande 
11. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II  
12. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue       
13. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: I. Prélude  
14. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
15. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: III. Courante
16. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
17. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II 
18. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
19. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude       
20. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande 
21. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante  
22. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande   
23. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II  
24. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
25. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: I. Prélude  
26. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande 
27. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
28. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande  
29. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: V. Gavottes I & II  
30. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
31. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: I. Prélude  
32. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: II. Allemande 
33. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: III. Courante
34. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
35. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: V. Gavottes I & II  
36. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

February 2022
Ivo Pogorelich’s “Chopin” marks a daring return to the spotlight, presenting a collection of Chopin’s works that challenges conventions and pushes the boundaries of interpretation. As a provocateur of the piano world, Pogorelich is no stranger to controversy, and this album continues that legacy with more concentrated and purposeful fervor.

The opening tracks feature Pogorelich’s signature sustained approach, notably in the Chopin C minor and E major Nocturnes. Unusually protracted, these performances captivate the listener with their intense emotional resonance. The centerpiece of the album, the F minor Fantasy, is a tour de force, clocking in at a staggering 16 minutes longer than the average rendition. Pogorelich’s transformation of the Lento sostenuto section into a profound largo is a masterstroke, evoking a sense of timelessness and profound introspection. However, some might find his restrained accelerations and dry legato phrases to be an acquired taste.

The B minor Sonata showcases Pogorelich’s unorthodox yet fascinating approach. The first movement surprises with extreme metrical leeway and microscopic attention to detail. While some might raise an eyebrow at his gargantuan ritardando before the development section, it serves to illuminate the intricate counterpoint and build a gripping harmonic tension. The Scherzo’s outer sections maintain a nimble and supple quality, but the Trio seems to wander indefinitely, stretching the limits of its expressiveness.

In the Largo, Pogorelich paints an intimate portrait that transforms into a larger-than-life canvas, captivating the listener with its emotional depth. However, the finale falls short, lacking the spark seen in Pogorelich’s earlier video recording from the Racconigi Castle (DG). While undeniably individualistic, this interpretation feels cluttered with excessive voicings and phrasings, diminishing its overall impact.

Unfortunately, technical issues from his first Sony release still linger, with moments of sonic stridency and harshness in the louder passages. These detract from the otherwise mesmerizing performances, leaving some listeners longing for a cleaner and more polished sound.

“Chopin” is a bold and audacious album that showcases the pianist’s willingness to challenge conventions and take risks with his interpretations. While some moments might not resonate with everyone, there is no denying the sheer passion and intensity that Pogorelich brings to these performances. His ability to evoke emotions and draw the listener into Chopin’s world is undeniable, making this album a must-listen for those seeking fresh and unconventional perspectives on the beloved composer’s music.

January, 2022
Seiji Ozawa, the legendary Japanese director, celebrates his 85th birthday with the release of a new live work dedicated to Beethoven on his 250th anniversary. Conducting his beloved Saito Kinen Orchestra, considered one of the 20 best orchestras in the world.   

The maestro’s virtuosity has been recognized by artists and the critics around the world: “Ozawa is perhaps entering a glorious Indian summer of creativity” – Gramophone  

“Animation, dynamism and joy … he is among the luckiest creatures of God who are nourished and sustained by the love of what they do”- John Williams. 

The unyielding energy and dedication from the now-eighty-five-year-old maestro is highly admirable: The rhythmic punch and sharpness in the Leonore Overture are undeniable, although some might argue that it feels a bit restricted tempo-wise. Special mention deserves the series of admirable woodwind solos and Saito Kinen Orchestra’s principal flute, in particular.  

Ozawa’s Seventh Symphony, first movement is marked by a gracious introduction and a neatly balanced main body. In many occasions Scherzos are skipped by the director, while the vigorous finale leads to a cathartic climax. 

The Symphony also rewards us with an exquisite woodwind playing, especially in the middle movements this can be easily spotted on the famous second movement which is masterfully performed and fully lyrical. 

Third movement develops with dance-like fluidity and great majesty. Wagner called this symphony ‘the apotheosis of the dance’, something which Ozawa has in mind. But the meticulosity in the performance sometimes turns against us and makes us loose the breathtaking effect of the piece. 

Some critics point out the lack of intensity of the Adagio, in which, without really languishing, Ozawa makes strings and woods vibrate, in a call to resignation accompanied by tears on the violins. It certainly lacks the intensity and heady scope of other versions.  

Even if it is true that the recording is been done may times before, no one can deny the greatness of this recording full of expertise, colour and exemplary interpretations

– Paul Thomas

Beethoven 7
Seiji Ozawa

Ludwig van Beethoven
1. Overture “Leonore No. 3”, Op. 72b
2. Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto – Vivace
3. Symphony No. 7 in A Major, Op. 92: II. Allegretto
4. Symphony No. 7 in A Major, Op. 92: III. Presto – Assai meno presto
5. Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio

November 2021
If there’s one single quality that everybody agrees about Yuja Wang is that she never leaves nobody indifferent: neither her loyal fans nor her most fierce detractors. And the pianist just made it clear again with this neat recording, recorded by Deutsche Grammophon during a recital held at the Philharmonie in Berlin. The German capital and its varied, lively and open spirit concert hall seem to be very significant and not chosen at random; it’s just representing Yuja’s artistic image and ability. 

The challenging repertoire has also been selected to reveal Yuja’s unarguable natural gift for dealing with works of such caliber. Her expressive musicality, her sophisticated techniques and her prodigious memory are fully given at the service of the music.  The the stylistic intentions of the pianist in this recital are certainly declare by the martial chords and deeply moving melodies of Prelude no. 5, opus 23 by Rachmaninov. We can appreciate her incisive sound, direct and precise attack, energy and character in the Andante dolce and in the extraordinary Vivace of Sonata no. 8 by Prokofiev, Études no. 1 and 9 of Ligeti, or in “The insects.”, the challenging trills of Sonata no. 10 by Scriabin. 

The recital includes Works from different historical moments. From a late romantic -Rachmaninov-, two visionaries of the 20th century -Scriabin and Prokofiev-, and a contemporary without veils, Ligeti. However, this chronological order is not respected in the program, which may seem surprising for some listeners. 

Her gifted ability is such that even the most demanding repertoire seems doomed by the interpreter who relentlessly performs wildness of infinite notes that could abstract the listener from it. Then is where maturity and contrasts emerge:  the pauses, the evocative harmonies, the search for textures as in the crescendo-diminuendo of Prelude no. 10 or in the Debussian beginning of Scriabin’s sonata, brings to the performance the distinctive point, which proves not also Wang’s undoubtfully flawless technical skills, but also her wisdom in performing and great musical understanding.

We are surely in front of a highly recommended, thrilling and ingenious album.

– David Gutman

The Berlin Recital
Yuja Wang

Sergei Rachmaninoff
1. Prelude in G Minor, Op. 23, No. 5
2. Études-Tableaux, Op.39, No. 1 in C Minor
3. Études-Tableaux, Op.33, Etudes-Tableaux, Op. 33, No. 3 in C Minor
4. Prelude in B Minor, Op. 32, No. 10

Alexander Scriabin
5. Piano Sonata No. 10, Op. 70

György Ligeti
6. Études pour piano, No. 3 “Touches bloquées”
7. Études pour piano, No. 9 “Vertige”
8. Études pour piano, No. 1 “Désordre”

Sergey Prokofiev
9. Piano Sonata No. 8 in B-Flat Major, Op. 84: I. Andante dolce
10. Piano Sonata No. 8 in B-Flat Major, Op. 84: II. Andante sognando
11. Piano Sonata No. 8 in B-Flat Major, Op. 84: III. Vivace

September 2021
The last CD recorded with Riccardo Chailly for Decca is dedicated to Respighi. It includes works as Pini di Roma; Aria for strings; Legend; In the evening; Ancient dances and arias for lute, Suite III, P. 172; for violin and orchestra; Fountains of Rome. A recording project that returns the complexity of the composer’s figure through two different sets of works: one, little known, young, the other of maturity, not coinciding with the famous trilogy. Thirty years of music are passed through: the entire Respighian path, from his training years to the three decades of maturity.

Respighi has earned eternal fame with his ‘Roman Triptych’ – the three works he wrote after settling permanently in Rome in 1913 as a composition teacher at the Accademia Santa Cecilia. Although the program notes of the CD constantly refer to a triptych – Respighi Triptychs is written above it in capitals – Chailly has opted for its own interpretation. He opens and closes with the opulent Roman successes, and for the middle part he chose one of Respighi’s most relevant works: one of the Antiche Danze ed Arie per il Liuto. A series of three suites for string orchestra, freely adapted to music from the Italian Renaissance and Baroque. 

They are compact works with a quasi-symphonic structure in four movements, each of which is revealed to us as moved by an internal logic; we can find in them the influence of the Rimsky-Korsakov coloring, the impressionism of Debussy and his studies with Max Bruch. 

The recording quality is great; however, some critics were a bit shocked by the deep density of the sound, even somewhat thick, and with predominant bass, might not favor a detailed listening.

The artist and the orchestra offer us a live drama, which perfectly matches the level of the composer’s brilliant orchestration abilities (especially in the handling of tonal color and the treatment of strings). The movements flow in a smooth natural succession, and that transitions between cinematic climaxes and passages of poetic beauty are organic. in ‘Pinos’, we will find ourselves immersed on an atmosphere of romantic nostalgia with a distinctive air of vivacity and a subtle refinement.  We find technicolor and sonic opulence in “Fuentes”, but also evocation (Val Julia), poetry (Villa Medicis) and orgiastic atmosphere (Trevi).

It goes without saying that this music is just right for Chailly. The listeners will surely enjoy this wonderful recording which is a present for the ears of any music lover.

– Clara Horner

Respighi
Riccardo Chailly
Filarmonica della Scala

Ottorino Respighi
1. Pini di Roma: I. I pini di Villa Borghese
2. Pini di Roma: II. Pini presso una catacomba
3. Pini di Roma: III. I pini del Gianicolo
4. Pini di Roma: IV. I pini della Via Appia
5. Aria per archi, P. 32 (Transcr. Di Vittorio)
6. Aria per archi: Leggenda for Violin and Orchestra, P. 36
7. Aria per archi: Di sera, P. 48
8. Antiche danze ed aria per liuto, Suite III: I. Italiana. Andantino
9. Antiche danze ed aria per liuto, Suite III: II. Arie di corte. Andante cantabile
10. Antiche danze ed aria per liuto, Suite III: III. Siciliana. Andantino
11. Antiche danze ed aria per liuto, Suite III: Passacaglia. Maestoso – Vivace
12. Fontane di Roma, P. 106: I. La fontana di Valle Giulia all’alba
13. Fontane di Roma, P. 106: II. La fontana del Tritone al mattino
14. Fontane di Roma, P. 106: La fontana di Trevi al meriggio
15. Fontane di Roma, P. 106: IV. La fontana di Villa Medici al tramonto

August 2021
Published by Sony in 2017 Yende’s last release, “Dreams” is a collection of brilliant opera areas masterfully interpreted by the young virtuoso singer. The recording has been praised by the critics and music lovers around the world and it was chosen as the best recording of the year at the Opera Oscars, delivered in London.

The album reaches the top of what could be seen as the singer’s personal “fairy tale”, the story of her success which she already portrayed in her previous debut album A Journey. 

South African soprano Pretty Yende has rapidly become a one of the most promising stars in the classical music spectrum. With her captivating elegance, her perfectly polished performances around the world, and the extraordinary global great acceptation achieved by international critics and the press, it seems that nothing can stop this angelic voice to reach the top of the stars. Since her international take-off at the Metropolitan Opera being only 27 years old, she has become an unstoppable phenomenon.  But it was her interpretation at Le Comte Ory de Rossini, with Juan Diego Flórez, what catalyzed her right to the spotlight.

The recording leaves no doubt of her great command and the precious gift she’s got for the opera singing.  Away from sounding plain or ethereal, her instrument has warmth and a very lyrical vocal background with great ease, of course, for vocal agility.

Ombre légère by Dinorah de Meyerbeer, is just one of the jewels of this recording. Such a divine and flawless interpretation, as well as in La sonnambula by Bellini, where she manages to capture with a greater degree of refinement and richness of nuances the female roles of Vincenzo Bellini’s operas. The passionate and tragic final scene of the few times performed La straniera, is where she once again displays all the expressive contrasts, and the deeply dramatic acuteness and where Yende as Alaide shows a serious well-built register in the initial aria “Sono all’ara”.

At some points, as for example in the new cadenza in Lucia, the excess coloratura plays a bad role for her, which turns into a point of vocal stridency and somewhat hinders the complete composition of the character and his big expressive richness, because the focus moves too much in the ability to reach high notes.

Her admirable command of the in French opera repertoire is just magical. There she can extendedly show her surprising agility with Juliette’s aria, moving to the rhythm of the waltz of Charles Gounod’s Romèo et Juliette, “Ah, je veux vivre!” choosing in the highest key of G versus F.  This chose of the higher register version is repeated in the aria “O luce di quest’anima” by Linda di Chamounix de Donizetti.

Yende excels in bel canto and her coloratura capable of embellishing the melody with astonishing ease, makes her a unique artist. 

For all these reasons, this second work Dreams constitutes a must have CD, for anyone who loves opera and especially for anyone who feels transported into a magical world thanks to music.

– David Smith

Dreams
Pretty Yende

Charles Gounod
Roméo et Juliette Act I
Libretto: Jules Barbier & Michel Carré
1. “Ah! Je veux vivre”
Gaetano Donizetti
Lucia di Lammermoor Act III (Mad Scene)
Libretto: Salvadore Cammarano
2. “Eccola!”…  “Il dolce suono”
3. “Ohimè! Sorge il tremendo fantasma … Ardon gli incensi”
4. “S’avanza Enrico!”
5. “Spargi d’amaro pianto”
Linda di Chamounix Act I
Libretto: Gaetano Rossi
6. “Ah! Tardai troppo”
Vincenzo Bellini
La straniera Act II (Finale)
Libretto: Felice Romani
7. “Sono all’ara”
8. “Vaneggia… Il passo sgombrisi…”
9. “Chi veggio? La regina!” 
Giacomo Meyerbeer
Dinorah (Le Pardon de Ploërmel) Act II (Shadow Song)
Libretto: Michel Carré & Jules Barbier
10. “Dieu, comme cette nuit est lente… Ombre légère”
Vincenzo Bellini
La sonnambula Act II (Finale)
Libretto: Felice Romani
11 “Oh, se una volta sola”
12. “Ah! Non credea mirarti”
13. “Ah! Non giunge uman pensiero”

July 2021
Since his remarkable appearance at the 15th Tchaikovsky Competition, the largely self-taught pianist, decried by some and praised by others, leaves no one indifferent. The album “Scarlatti” was recorded live at the Salle Cortot in Paris, Debargue’s first concert in his hometown after the competition. 

The four-disc set contains the 52 Scarlatti sonatas, performed on piano. Debargue clarifies though, that he used some nods to harpsichord technique to perform. For example, he uses almost no pedal on this collection.

Ethereal delicate Scarlatti opens this album.  The liveliness of the playing is coupled with great sensitivity. His masterful and colorful command of pacing is very remarkable: he perfectly balances elegancy and rhythm with dramatic turns, in order to create a powerful but yet very personal performance. 

Under the intelligent playing of this piano phenomenon, the sonatas reveal their capricious brilliance: Debargue underlines the angles, the colors, creates unexpected turns and astonishes us with every sonata that comes from his gifted fingers.  Each sonata is a world in itself and submerges us into a wide range of emotions which sometimes contradict, and other complement each other. The subtlety of the beginning of K.206 quickly gives way to an expression of force and agony, and the octaves of the left hand are thoroughly dramatic. 

Always looking for excellence, Debargue’s performance comes from the heart. It is exactly this sincerity in playing that makes him so controversial and so attractive. He’s constantly chasing renovation which in its unpredictable, unexpected playing sometimes even confusing, but always surprising. His playful side is very prominent and goes hand in hand with the very present experimental dimension. He experiments with music, tries new approaches, and reinvents the interpretations up to the point that we might have the false feeling of improvisation. 

Awarded at the Tchaikovsky Competition for “the pianist whose incredible gift, artistic vision and creative freedom have impressed the critics as well as the audience”, What sets Lucas Debargue apart from other pianists is his personality which is clear in each of his performances. The pianist imposes himself to the music, doming it with artistry and making us participants of his genial creations.

– Paul Thomas

Scarlatti – 52 sonatas
Lucas Debargue

Domenico Scarlatti
CD 1
1. Sonata K. 206 E major – Andante
2. Sonata K. 531 E major – Allegro
3. Sonata K. 404 A major – Andante
4. Sonata K. 405 A major – Allegro
5. Sonata K. 447 F-sharp minor – Allegro
6. Sonata K. 25 F-sharp minor – Allegro
7. Sonata K. 343 A major – Allegro andante
8. Sonata K. 113 A major – Allegro
9. Sonata K. 258 D major – Andante
10. Sonata K. 214 D major – Allegro vivo
11. Sonata K. 211 A major – Andantino
12. Sonata K. 212 A major – Allegro molto
13. Sonata K. 109 A minor – Adagio

CD 2
1. Sonata K. 6 F major – Allegro
2. Sonata K. 268 A major – Allegro
3. Sonata K. 443 D major – Allegro
4. Sonata K. 45 D major – Allegro
5. Sonata K. 27 B minor – Allegro
6. Sonata K. 244 B major – Allegro
7. Sonata K. 105 G major – Allegro
8. Sonata K. 260 G major – Allegro
9. Sonata K. 491 D major – Allegro
10. Sonata K. 414 D major – Allegro
11. Sonata K. 534 D major – Cantabile
12. Sonata K. 535 D major – Allegro
13. Sonata K. 32 D minor – Aria

CD 3
1. K 431 G major – Allegro
2. K 125 G major – Vivo
3. K 308 C major – Cantabile
4. K 461 C major – Allegro
5. K 196 G minor – Allegro
6. K 477 G major – Allegrissimo
7. K 115 C minor – Allegro
8. K 526 C minor – Allegro comodo
9. K 462 F minor – Andante
10. K 438 F major – Allegro
11. K 106 F major – Allegro
12. K 107 F major – Allegro
13. K 69 F minor

CD 4
1. K 468 F major – Allegro
2. K 469 F major – Allegro molto
3. K 302 C minor – Andante
4. K 242 C major – Vivo
5. K 521 G major – Allegro
6. K 14 G major – Presto
7. K 474 E-flat major – Andante cantabile
8. K 253 E-flat major – Allegro
9. K 172 B-flat major – Allegro
10. K 545 B-flat major – Prestissimo
11. K 192 E-flat major – Allegro
12. K 193 E-flat major – Allegro
13. K 247 C-sharp minor – Allegro