Christian Măcelaru and the WDR Sinfonieorchester, in their latest album featuring Brahms’ Piano Concertos with pianist Simon Trpčeski, take a distinctive turn from their previous endeavors. However, this rendition invites comparisons with notable performances by other maestros, creating an interesting discourse on interpretation and execution. 

The journey begins with the D minor concerto, and while the orchestral layering is evident, Măcelaru’s approach feels light-handed, lacking the requisite Maestoso character. The timpani, crucial for establishing mood, disappointingly takes a backseat, only making a significant impact in the finale’s closing bars. Trpčeski’s entrance doesn’t elevate the performance, and over-pedaling leads to an atmospheric, rather than heady, ambiance. The frustration peaks in moments like 10’39”, where the octaves lack the necessary momentum. The Adagio’s pacing is reasonable, yet the spirit falls short, missing the profundity and expansiveness demanded by Brahms’ transcendent melodies. Trpčeski maintains a gentle approach, offering introspection but still falling short of more emotionally charged renditions. 

The Finale emerges as the strongest segment, with Trpčeski’s clarity and space in staccato notes delivering pristine passagework. However, the delayed gratification of the needed drive in the jubilant D major section raises questions about the conductor’s intent. 

The B-flat major concerto shows promise, marked by a well-enunciated French horn solo and increased vigor. The noble orchestral interlude and Trpčeski’s empathic chords demonstrate the energy lacking in the D minor concerto. However, inconsistencies persist, with the second movement reverting to old habits, demanding more insistence from the soloist. The cello solo in the slow movement shines, exhibiting beautiful vibrato and expressive shifts in color. Trpčeski’s responsiveness to tonal movement is effective, though some additional playfulness could enhance the listening experience in certain moments. 

In summary, the album leaves a mixed impression. While the B-flat major concerto showcases the performers’ capabilities, the inconsistencies and shortcomings in the D minor concerto prevent it from standing out among preferred listening points. This release, though competent, may not alter existing recommendations for top choices in Brahms’ Piano Concertos. 

Matthias Goerne’s Im Abendrot: Songs by Wagner, Pfitzner, Strauss, released in 2021, is a mesmerizing voyage through the world of Lieder, showcasing the baritone’s unparalleled talent. With a voice akin to brushed velvet and crystal-clear diction, Goerne deftly navigates a repertoire that is often associated with sopranos, proving that beauty and emotion can be found in lower registers as well. 

The program opens with Wagner’s Wesendonck Lieder, where Goerne paints a vivid musical landscape in shades of yellow and brown. “Im Treibhaus” reveals haunting shadows of Tristan und Isolde, while the closing piece, “Träume,” evokes a profound sense of longing and yearning, nearly burying the listener under waves of emotion. 

Hans Pfitzner, an often overlooked composer, takes center stage with his rendition of “Im Abendrot.” Goerne’s interpretation offers a poignant contrast to Strauss’s work of the same title, breathing new life into this composition. Pfitzner’s music may have an aged quality, but in Goerne’s hands, it becomes a captivating and emotionally charged experience. 

The five Strauss tracks included in the album are nothing short of minor miracles. Goerne’s rendition of the well-loved “Morgen!” delicately frees it from its traditional feminine interpretation, offering a fresh perspective on this timeless classic. However, what truly astonishes is the empathetic and skillful piano accompaniment. 

While Matthias Goerne has often formed a remarkable partnership with the Russian pianist Daniil Trifonov, in this recording, he is joined by the Korean Chopin Competition winner, Seong-Jin Cho. Cho, despite his youthful age of 25, demonstrates a level of sensitivity and artistry that is truly exceptional. His piano playing shines brightly and often steals the narrative in the album’s finest moments. 

“Im Abendrot” is a five-star album that showcases Matthias Goerne’s mastery of Lieder singing. His voice, combined with the remarkable piano accompaniment by Seong-Jin Cho, creates a mesmerizing musical experience that transcends boundaries. Even if you think you can’t bear Lieder singing, this album may just change your mind. It’s a testament to the power of music to touch the soul and evoke deep emotions. 

Samuel Hasselhorn, the illustrious baritone who clinched the First Prize in the Queen Elisabeth Competition in 2018, has solidified his place in the international music scene, captivating audiences as both an opera singer and a recitalist. His latest release, “Die schöne Müllerin D795,” in collaboration with pianist Ammiel Bushakevitz, is a testament to his remarkable talent and deep emotional insight. 

The album opens with the mellow yet emotionally charged “Das Wandern.” Hasselhorn meticulously adheres to Schubert’s score, beginning at a “Mässig” (Moderate) tempo for the first three stanzas and then gently slowing down to an almost “Andante” pace for the final two. This deviation in tempo adds a magical dimension to the music, setting the stage for what’s to come. 

Throughout the cycle, Hasselhorn demonstrates a stunning range of soft nuances, while still exuding power and energy. In “Halt!” (track 3), his interpretation is vital and robust, while “Der Jäger” captures the despair of realizing the presence of a rival. This shift in emotion is stark, especially considering the intimate conversation between the protagonist and the Müllerin in “Morgengruss.” The subsequent songs, “Tränenregen” and “Mein!” are overflowing with rapture as he rejoices in his love, building to ecstasy in “Mit dem grünen Lautenbande.” 

However, just when all seems perfect, the hunter appears, and Hasselhorn’s portrayal of the sudden transformation is nothing short of brilliant. This pivotal moment, marked by the abrupt shift from joy to jealousy, is rendered without exaggerated theatrics, creating a captivating experience that leaves the listener in awe. 

The concluding songs are marked by resignation and acceptance, beautifully melancholic as heard in “Trockne Blumen.” The dialogue between the Miller and the brook is particularly moving, and the postlude after “Des Baches Wiegenlied” offers a sense of soft, comforting closure, akin to the sound of gentle church bells. 

Ammiel Bushakevitz, the accomplished pianist accompanying Hasselhorn, deserves special mention. His accompaniment is deeply engaging and seamless, creating a symbiotic partnership with the baritone. Their collaboration elevates this rendition of “Die schöne Müllerin” to a new level of artistry. 

In a vast collection of recordings spanning decades, Samuel Hasselhorn’s interpretation of Schubert’s “Die schöne Müllerin” undoubtedly ranks among the finest. While choosing a definitive favorite remains an impossible task, Hasselhorn’s performance places him securely in the upper echelon of interpreters of this timeless masterwork. Music lovers will find his rendition a true delight, breathing fresh life into Schubert’s enduring masterpiece. 

“For Clara: Works by Schumann & Brahms” is a musical journey that beautifully captures the essence of Clara Schumann’s influence on Robert Schumann and Johannes Brahms, while showcasing the talents of two exceptional artists, Hélène Grimaud and Konstantin Krimmel. 

The album opens with Hélène Grimaud’s mesmerizing interpretation of Robert Schumann’s “Kreisleriana Op. 16.” These eight pieces are not just a collection of notes; they are a testament to the deep emotional connection between Robert and Clara. Grimaud’s delicate touch and expressive playing transport the listener into the heart of this passionate and tumultuous relationship. She effortlessly navigates the contrasting moods within the composition, from fiery and tumultuous to tender and introspective. Grimaud’s mastery of the piano shines through, making each note an exquisite brushstroke on a canvas of emotions. 

A highlight of the album is the collaboration between Hélène Grimaud and baritone Konstantin Krimmel in Johannes Brahms’ “Lieder und Gesänge, Op. 32.” Brahms’ choice of poetry and the themes explored in these nine songs reflect the profound influence of Clara Schumann on his life and work. Krimmel’s rich and resonant voice pairs beautifully with Grimaud’s sensitive piano accompaniment, creating a seamless blend of vocal and instrumental expression. Their rendition of Brahms’ Lieder captures the essence of love, longing, and devotion, taking the listener on a lyrical journey through the depths of human emotion. 

The album’s thematic coherence and the synergy between Grimaud and Krimmel make it a compelling listening experience. Both artists bring a deep understanding of the composers’ intentions and the historical context in which these works were created. This knowledge infuses every note with authenticity and emotional depth. 

In addition to the captivating performances, “For Clara” also pays homage to Clara Schumann’s role as a muse and collaborator. It sheds light on the intricate web of relationships that shaped the Romantic era of classical music, making it a must-listen for those interested in the intersection of art, love, and creativity. 

Overall, “For Clara: Works by Schumann & Brahms” is a remarkable tribute to Clara Schumann’s enduring legacy and the profound impact she had on two of the most celebrated composers of the 19th century. Hélène Grimaud and Konstantin Krimmel’s artistry and deep musical insight bring these timeless compositions to life, making this album a delightful and emotionally resonant addition to any classical music collection. 

Ruby Hughes returns with her third album, “End of My Days,” showcasing her remarkable vocal prowess and an eclectic repertoire that spans almost 500 years. Collaborating with the Manchester Collective, Hughes delivers a diverse collection of works, featuring both well-known and lesser-known composers. The album presents a sonic journey that captivates with its expressive performances and thoughtful programming. 

The album opens with Brian Elias’ “Meet Me in the Green Glen,” a bold choice that allows Hughes to shine without any accompaniment. Her vocal clarity, diction, and expressiveness are on full display, creating a haunting atmosphere that draws listeners in. The Manchester Collective makes a strong entrance with Caroline Shaw’s “Valencia,” demonstrating their mastery of motivic minimalism and texture layering. 

David Bruce’s arrangements of John Dowland’s laments introduce an interesting twist, though some may find them less effective than the original compositions for voice and lute. Despite some differences in timbre, the performers deliver a highly expressive performance, emphasizing the shifts between light and dark harmonic colors in “Flow My Tears” and achieving a mellow tapestry in “Crystal Tears.” 

The eponymous track, “End of my Days,” from Errollyn Wallen’s set, “Are You Worried about the Rising Cost of Funerals?” adds a darker theme to the album. Hughes and the ensemble skillfully navigate the dichotomy between resignation and defiance, creating a poignant interpretation that explores the acceptance of the inevitable. 

Standout tracks include Jake Heggie’s arrangements of Debussy’s Chansons Bilitis, where Hughes collaborates with the Manchester Collective to bring out the more nuanced side of Debussy’s whimsical compositions. “La Flûte de Pan” captures an intimate soundspace, while “La Chevelure” reveals tension and conflict between the strings and Hughes’ rapture-filled melody. The final track, “Le Tombeau des Naïades,” concludes with unexpected optimism, leaving a lasting impression. 

The sound engineers at BIS deserve commendation for sensibly balancing the voice and instruments, creating a clear and immersive listening experience. The inclusion of SACD surround sound enhances the clarity, making the audience feel intimately connected to the performances. The addition of song texts and translations further enriches the overall experience. 

“End of My Days” is a testament to Ruby Hughes’ versatility and the collaborative synergy with the Manchester Collective. With top-notch performances and thoughtful programming, this album is a must-listen for those seeking a captivating journey through centuries of vocal and instrumental artistry. Highly recommended without reservation. 

In Nikolai Lugansky’s rendition of Wagner’s ‘Famous Opera Scenes’, listeners are treated not just to a display of technical brilliance but to a transformative journey through the heart and soul of Wagnerian drama. While Lugansky’s virtuosity is evident from the outset, his true artistry lies in his ability to transcend mere technical prowess and evoke the profound emotional depths inherent in Wagner’s compositions. 

From the resplendent cascades of the Magic Fire Music to the somber reverie of Siegfried’s Funeral March, Lugansky’s interpretation is marked by an exquisite blend of precision and passion. Each note is imbued with meaning, each phrase carefully crafted to convey the complex tapestry of emotions that define Wagner’s operatic universe. 

What sets Lugansky’s performance apart is his uncanny ability to capture the essence of each scene, drawing listeners into the very fabric of the narrative. Whether it’s the nostalgia tinged with vulnerability in Siegfried’s Funeral March or the juxtaposition of innocence and pain in Parsifal, Lugansky’s keen insight and sensitivity shine through, illuminating the nuances of Wagner’s musical language. 

Despite the varied origins of the arrangements, Lugansky navigates them with consummate skill, seamlessly weaving together disparate threads into a cohesive and immersive tapestry of sound. His rendition of the Götterdämmerung excerpts stands as a testament to his mastery, holding its own against the transcriptions penned by 19th-century giants. 

Furthermore, the recording’s pristine sound quality serves to enhance the overall listening experience, allowing Lugansky’s artistry to shine through with crystal clarity. In his hands, Wagner’s ‘Famous Opera Scenes’ are not merely performed but lived, evoking a sense of awe and wonder that resonates long after the final note has faded. 

 Nikolai Lugansky’s ‘Famous Opera Scenes’ is a triumph of interpretation and execution, offering listeners an immersive journey into the heart of Wagnerian splendor. Whether you’re a seasoned aficionado or a newcomer to the world of opera, this recital is sure to captivate and inspire, reaffirming Wagner’s enduring legacy as one of the greatest composers of all time. 

This live recording, captured at Yuja Wang’s April 26, 2022 recital in Vienna, evokes memories of her successful 2019 “Berlin Recital.” It features complete piano sonatas by Beethoven and Scriabin alongside individual movements or excerpts from larger cycles, echoing program structures common until the mid-20th century. 

While billed as a single concert from Vienna’s Konzerthaus, the album deviates from the original program. Schoenberg’s Suite, which opened the live performance, is omitted here. Additionally, Albéniz’s “Lavapiés” from Iberia, originally the closing piece, appears midway through the album. The recital itself concluded with ten encores, only four of which are included here. Following suit with the Berlin release, DG could treat us to the remaining encores on a separate album. 

Despite these alterations, the program remains eclectic and provides a satisfying listening experience, much like a well-curated recital. Works that might seem disparate on paper cohere through both contrast and thematic echoes. Wang demonstrates her mastery of densely layered compositions like those by Scriabin and Albéniz, highlighting the distinct voices within these complex works. 

Her interpretation of Scriabin’s Piano Sonata No. 3 captures its fantastical spirit while acknowledging its elusive structure. Listen closely to how the slow movement subtly quotes the sonata’s main theme, as if from a dream (track 4, 4’10”). The two jazzy preludes by Nikolai Kapustin that follow subtly reference Scriabin’s exploration of future harmonic possibilities and stylistic innovations. 

This recording, despite its deviations from the live program, offers a deeply engaging journey through a broad spectrum of piano literature, showcasing Yuja Wang’s virtuosic talent and interpretive depth. 

Polish identity and dance have long resonated on an international stage, and at the heart of this cultural export are the enchanting Polish dances like the Polska and the Mazurka. While these dances might no longer dominate our ballrooms, their influence remains undeniable, transcending borders and centuries. Peter Jablonski’s 2022 recording, “Complete Mazurkas,” offers a captivating exploration of Chopin’s Mazurkas, a collection that takes us on a journey from the heart of Polish tradition to the refined world of the salon. 

Chopin’s relationship with the Mazurka form is a story in itself. When he left Poland for Paris in 1833, he embarked on a path of creative genius. His first published works upon arrival were two sets of mazurkas, Op. 6 and Op. 7. In doing so, he set himself apart from the multitude of virtuosos in the City of Light, instantly capturing the attention of the musical elite. Chopin’s genius extended beyond his compositions; his ad libitum style of playing granted him a rhythmic freedom that few could rival. 

Chopin’s fascination with the mazurka began as early as 1824, but it wasn’t until the tumultuous year of 1830, marked by the November Uprising against Russian rule, that he truly delved into the form. He transmuted these humble peasant dances into works of art infused with classical techniques, including counterpoint and fugue. In Chopin’s hands, the mazurka evolved into a genre entirely distinct from its rustic roots. These mazurkas were not meant for dancing but rather for piano virtuosos, showcasing the depth of his talent. 

The journey through this captivating album commences with the Op. 6 collection’s first mazurka, an eloquent testimony to Chopin’s unique style and artistry. As the music unfolds, one is immediately struck by the ‘Polish-ness’ that Chopin employs to express his musical genius. It’s as if, as one writer beautifully put it, the melody initially climbs in a familiar manner, only to descend in a series of progressions that challenge the harmony. This departure from the expected captivated the discerning ears of Paris, and it is this innovation that still leaves audiences in awe today. 

Peter Jablonski, a Swedish pianist of extraordinary talent and acclaim, brings these Chopin Mazurkas to life. Having been discovered and signed to Decca at the tender age of 17, Jablonski has since worked with some of the world’s leading orchestras and conductors. His extensive recording repertoire, including complete piano concertos by luminaries like Beethoven, Tchaikovsky, Rachmaninoff, and Bartók, and all piano sonatas by Prokofiev, attests to his mastery of the piano. 

In “Complete Mazurkas,” Jablonski’s performance is nothing short of breathtaking. His interpretation pays homage to Chopin’s genius, capturing the essence of each piece’s unique character, from the rustic and lively to the more melancholic and introspective. With an impeccable touch and sensitivity, he leads us on a journey through Chopin’s soul, evoking the very essence of these mazurkas. Jablonski’s deep connection with the music is palpable, making this recording a compelling and unforgettable listening experience. 

“Complete Mazurkas” by Peter Jablonski is a remarkable journey into the world of Chopin’s Mazurkas. It offers a unique opportunity to delve into the rich history of Polish dance, the transformation of folk motifs into classical masterpieces, and the transcendent artistry of a true piano virtuoso. Jablonski’s impeccable performance brings these timeless works to life, allowing us to savor the beauty and innovation that Chopin introduced to the world of classical music. This album is a must-listen for anyone seeking an authentic, emotive, and transcendent musical experience. 

Michael Spyres invites listeners on a captivating journey through the less-traveled paths of opera in his latest album, “In The Shadows.” Known for his adventurous musical spirit, Spyres ventures beyond the well-trodden paths of mainstream repertoire to unearth hidden gems that offer a glimpse into the rich tapestry of operatic history. 

The album opens with a selection of songs from the early 19th century, a time when opera was undergoing a period of vibrant experimentation and innovation. Spyres brings these forgotten treasures to life with his signature blend of power and emotion, particularly shining in the French and Italian repertoire. His renditions of works by composers like Bellini and Weber transport listeners to a bygone era, where the tenor reigned supreme as the epitome of operatic heroism. 

While Spyres’s command of the French and Italian languages is evident in his seamless delivery, his exploration of German opera reveals a slight discomfort with the language. However, his undeniable vocal prowess and emotive depth transcend any linguistic barriers, offering listeners a compelling glimpse into the dramatic worlds of Max from “Der Freischütz” and other German operatic characters. 

The true highlight of the album comes with Spyres’s foray into the realm of Wagnerian opera. With impassioned renditions of rare arias from works like “Die Feen” and “Rienzi,” Spyres demonstrates his versatility as a singer while delving into the lesser-known corners of Wagner’s oeuvre. His interpretation of “Mein lieber Schwan” from “Lohengrin” is a revelation, showcasing a clarity and purity of tone that breathe new life into this beloved aria. 

Throughout “In The Shadows,” Spyres’s commitment to musical exploration and his unwavering dedication to his craft shine through. Supported by the vibrant accompaniment of Christophe Rousset and Les Talens Lyriques, Spyres embarks on a musical odyssey that captivates the imagination and leaves listeners eagerly anticipating what lies ahead for this remarkable artist. “In The Shadows” perfectly expresses Spyres’s artistry, intellect, and boundless curiosity. Whether you’re a seasoned opera aficionado or a newcomer to the genre, this album offers a rewarding listening experience that invites you to explore the hidden depths of operatic repertoire alongside one of today’s most exciting voices. 

In their latest release on Onyx, the Royal Liverpool Philharmonic Orchestra, led by conductor Domingo Hindoyan, offers a distinctive interpretation of Bruckner’s Symphony No. 4. While entering a crowded field of recordings for such a celebrated work, this rendition stands out for its unique qualities and refreshing approach. 

To begin with, the technical excellence displayed by the orchestra is commendable. The solo performances, especially in the slow movement, showcase a high level of sensitivity and skill. The string section’s impeccable articulation and unity, even in the most exposed passages, contribute to a polished and cohesive overall sound. Hindoyan’s mastery of the extended dynamic range and clear understanding of the structural nuances in each movement further enhance the performance. 

What sets this recording apart is Hindoyan’s intentional departure from the traditional weighty and full-bodied sound associated with Bruckner’s Symphony No. 4. Instead, the orchestra, in collaboration with the conductor, presents a more folksy and less religious interpretation, a refreshing departure from the norm. The first movement, with its infectious lilt, transports the listener to a countryside setting, offering a unique perspective on the familiar composition. 

While the deliberate choice to emphasize a folksy character sacrifices some of the expected grandiosity, it introduces a charming and nuanced quality to the performance. Hindoyan’s clear intention to portray the music as more country than city allows for a fresh perspective on Bruckner’s work, providing an engaging and accessible experience for listeners. 

The meticulous execution and well-managed tempos in the first movement demonstrate a commitment to precision. The connection to Schubert in the second movement is handled with grace, emphasizing the beauty of nature. While some may miss a more overt sense of spiritual journey, Hindoyan’s subtle approach allows for a different, more introspective exploration of the work. 

The Scherzo, with its tremendous excitement and thrilling playing, showcases the orchestra’s capabilities under Hindoyan’s direction. The Finale stands out as a highlight, where Hindoyan’s structural mastery brings a sweeping vision to the symphony, making it a compelling and satisfying conclusion to the recording. 

The Royal Liverpool Philharmonic Orchestra and Domingo Hindoyan’s interpretation of Bruckner’s Symphony No. 4 offers a refreshing and positive departure from the norm. While some might miss the traditional weightiness, this recording presents a captivating and unique perspective, making it a valuable addition to the extensive catalog of Bruckner recordings.