Luka Faulisi’s debut album, “Aria,” is nothing short of extraordinary. At just 20 years old, this French-Serbian-Italian violinist has already earned high praise from the celebrated Israeli-American virtuoso, Pinchas Zukerman, who described Faulisi as having a “million-dollar sound.” After listening to this album, one can certainly understand why Zukerman’s endorsement is well-founded.

“Aria” features movements from both obscure and popular romantic operas, showcasing Faulisi’s remarkable talent and versatility. Collaborating with world-class pianist Itamar Golan, known for his association with Maxim Vengerov, the duo brings an unparalleled energy and spirit to the classical music repertoire.

One highlight of the album is the Carmen Fantasie: Prélude, which Faulisi performs with a dazzling display of technical prowess and an infectious sense of playfulness. This vivacious rendition challenges the notion that classical music must be overly serious and instead presents it as a delightful and thrilling experience.

Faulisi’s repertoire on this album is carefully curated, and each piece is delivered with utmost sensitivity and emotional depth. From the fervent and passionate rendering of Franz Waxman’s Carmen Fantasy, popularized by Jascha Heifetz, to the haunting beauty of Henryk Wieniawski’s Fantasia on Themes from Gounod’s ‘Faust,’ the listener is taken on a captivating journey through various operatic landscapes.

An unexpected gem on “Aria” is “Roxana’s Song” from Karol Szymanowski’s opera King Roger, arranged by Paul Kochanski. Faulisi’s heartfelt interpretation of this less-familiar piece reveals his ability to breathe new life into hidden gems of the classical music world.

The album also includes pieces such as Efrem Zimbalist’s fantasy on melodies from Rimsky-Korsakov’s fairytale opera Le Coq D’or and Leopold Auer’s arrangement of “Lensky’s Aria” from Tchaikovsky’s opera Eugene Onegin, all of which Faulisi performs with immense skill and maturity.

The emotional depth of Faulisi’s performance is most evident in the tender introduction to Gounod’s Faust. The sheer beauty of his phrasing and the heartfelt expression he brings to this piece alone make “Aria” a must-listen.

Beyond his technical brilliance, Faulisi’s command of Eastern European violin styles is particularly impressive, hinting at a seasoned musician performing well beyond his years. It is worth noting that he is currently a student of professor Pavel Berman at the Accademia Lorenzo Perosi in Biella, Italy, which makes his debut even more remarkable.

“Aria” is undeniably one of the strongest debuts in recent memory. Luka Faulisi’s performance is simply breathtaking, and he embodies the true essence of classical music with his lyrical phrasing and emotional resonance. This young violinist has a promising future ahead, and “Aria” is a testament to his immense talent and potential. Listening to this album is akin to witnessing a rising star in the classical music world, and it’s an experience worth cherishing. Faulisi indeed sounds like a million bucks, and his “Aria” is a triumphant celebration of his artistry.

In this breathtaking CD recording of Clara and Robert Schumann’s Piano Concertos, pianist Beatrice Rana and conductor Yannick Nézet-Séguin, together with the Chamber Orchestra of Europe, deliver an awe-inspiring musical journey that transcends time and touches the soul.

Clara Wieck’s Op. 7 Piano Concerto is a true gem, and Rana’s interpretation brings out the youthful brilliance and maturity of the composition. The opening Maestoso immediately commands attention with the orchestra’s rich, fulfilling sound, setting the stage for Rana’s exceptional performance. Her mastery of the thunderous octave passages is awe-inspiring, revealing a pianist of extraordinary technical prowess and artistic depth. But it is in the quieter moments that Rana truly shines, captivating listeners with her heartfelt rendition of the lyrical sections. The piano sings with a captivating bel canto quality at 1:13, infusing the music with a tender and melancholic charm that lingers in the heart. Rana’s seamless transition into the sprightly F major section is a testament to her musical finesse, making the listener feel as if they are witnessing a story unfold in real-time.

The Romanze is an enchanting movement that showcases Clara’s experimental harmonic genius, and Rana embraces the challenge with artistic maturity. Her piano creates a kaleidoscope of sonoric colors, bringing to life the various personalities of the music – from passionate and dreamy to contemplative and enigmatic. The dialogue between Rana and the cellist in the chamber-like duo is a testament to her remarkable musicianship, where she supports and weaves together with the cello, creating moments of breathtaking beauty.

As the Finale begins, Rana takes center stage with exhilarating intervallic runs and leaps that demand the utmost precision and dexterity. Her flawless technique shines through, leaving listeners in awe of her skill. The orchestra complements Rana’s vitality, adding a triumphant interlude at 4:28 that sets the heart racing with excitement and joy. The symbiotic relationship between the soloist and the orchestra creates a truly memorable and electrifying performance.

Turning to Robert Schumann’s Op. 54, Rana continues to display her versatility and artistic sensitivity. The opening dotted rhythms exude a sense of grandeur and majesty, although some may yearn for a touch more crispness in the figures. Nonetheless, Rana’s interpretation remains captivating, and her cadenza brings out the symphonic grandeur of the concerto’s most poignant moments.

The middle movement provides a delightful contrast, with Rana and the flute weaving together a delicate and enchanting tapestry of sound. The piano’s tone, mentioned earlier, adds to the allure, creating a sense of mesmerizing beauty throughout the movement. As the concerto reaches its Finale, Rana and the ensemble capture the dancelike rhythms with infectious gaiety. The suspenseful buildup toward the conclusion is masterfully managed, leaving listeners on the edge of their seats until the final, satisfying chord.

The CD also includes generous liner notes, featuring an insightful conversation between the artists and a concise but enjoyable musical analysis by Jed Distler. These additional materials enrich the experience, offering valuable insights into the concertos’ historical context and artistic nuances.

While the sound engineering is mostly commendable, there are moments in the Robert Schumann selection where it may sound slightly boomy or confined, but this minor quibble hardly detracts from the overall brilliance of the performances.

In conclusion, Beatrice Rana’s CD recording of Clara & Robert Schumann’s Piano Concertos, accompanied by Nézet-Séguin and the Chamber Orchestra of Europe, is a masterpiece of musical storytelling. Rana’s impeccable technique, artistic sensitivity, and emotional depth shine through, creating an unforgettable and transcendent musical experience. This recording is a must-have for classical music aficionados and newcomers alike, showcasing the enduring beauty and genius of these timeless piano concertos.

The Brodsky Quartet celebrated its remarkable 50th anniversary with “Golden Oldies,” a delightful CD featuring a selection of encore-style pieces specially arranged by the quartet members themselves. This release showcases the quartet’s enduring passion and creativity, delivering a captivating journey through a diverse repertoire.

From the very first notes, “Golden Oldies” exudes a sense of charm and affection. The opening piece, Scott Joplin’s “Solace,” arranged for string quartet by the quartet’s cellist Jacqueline Thomas when she was just 13, sets the tone perfectly. The quartet delivers the piece with a beguiling allure, displaying the impeccable chemistry that has been honed over five decades of making music together.

Adding to the enchanting atmosphere, Thomas offers quartet versions of two movements from Shostakovich’s “Five Pieces for Two Violins and Piano.” The second movement, performed with lightly worn wit and gracefulness, showcases the quartet’s profound understanding of the composer’s idiosyncratic style.

Violist Paul Cassidy shines as he places his wife, Jacqueline Thomas, in the spotlight with his elegant arrangement of Saint-Saëns’ “Les Cygnes.” This piece presents a unique twist, where two swans dance gracefully in the musical narrative. The collaboration between Thomas and Cassidy, both in their personal and musical partnership, yields a beautiful and emotive performance.

Cellist Laura van der Heijden joins the quartet, continuing their successful partnership from the outstanding recording of Schubert’s String Quintet. Van der Heijden’s talent and sensitivity come to the forefront in Cassidy’s arrangements of Debussy’s ‘Des pas sur la neige’ and Prelude No. 10 from Book 1 of Bach’s “Das wohltemperierte Klavier.” Her profound musicianship complements the quartet’s well-established rapport, resulting in deeply engaging interpretations.

Pianist Julian Jacobson makes a poignant appearance in a re-casting of Elgar’s “Adieu.” His touching contribution adds another layer of emotion and highlights the collaborative spirit of the ensemble.

The newest member of the quartet, first violinist Krysia Osostowicz, showcases her talent with effective quartet arrangements of three Gnossiennes by Satie. Her seamless integration into the Brodsky Quartet is evident, and her stylish playing further enhances the ensemble’s musical expression.

Throughout “Golden Oldies,” the Brodsky Quartet demonstrates a remarkable synergy that only comes from years of performing together. The recording captures the warmth and vitality of their live performances, making it a truly enjoyable and engaging experience for listeners.

 The quartet’s dedication to music and the enduring friendship among its members are evident in every note they play. With this splendid recital, the Brodsky Quartet paves the way for another exciting decade of music-making, and “Golden Oldies” is undoubtedly a treasure for both long-time fans and new listeners alike.

Cédric Tiberghien takes us on a captivating musical journey with his double-disc release, “Complete Variations” – the first installment in a series that explores the realm of variations from Sweelinck to Kurtág. While Beethoven serves as the focal point, Tiberghien’s inclusion of Mozart’s ‘Alla Turca’ Sonata, K331, and Webern’s Op. 27 raises intriguing questions about the program’s cohesion. Nevertheless, Tiberghien’s imaginative artistry and exquisite sound offer a banquet of surprises, setting the stage for what promises to be an enthralling series.

At the heart of this collection lie Schumann’s lesser-known Etudes in variation form on a theme by Beethoven. Though shrouded in uncertainty due to their incomplete nature, Tiberghien embraces their pianistic innovation, providing a glimpse into Schumann’s brilliance that resonates forward into the works of Rachmaninov. Similarly, Beethoven’s rarely heard Variations on ‘Kind, willst du ruhig schlafen’ and ‘Tändeln und Scherzen’ find a deserving place in Tiberghien’s hands, illuminating their unique charm and complexity.

A highlight of the collection emerges through Tiberghien’s introspective interpretation of Beethoven’s ‘Eroica’ variations. His nuanced approach invites listeners to delve into the intricate emotions woven within the variations, offering a fresh perspective on this familiar work. Equally enchanting are Beethoven’s Variations, Op. 34, which Tiberghien unfolds with a deft touch, revealing hidden depths beneath their surface.

The selection also offers a glimpse of Beethoven’s ingenuity in extracting captivating material from seemingly modest themes, as seen in the Variations on ‘Nel cor più non mi sento,’ which echoes the spirit of Diabelli. Tiberghien’s mastery allows these variations to shine brightly, showcasing the composer’s imaginative prowess.

The journey concludes with Schumann’s Ghost Variations, where Tiberghien delicately balances emotional depth and resilience. His performance captures the haunting essence of the piece, leaving a lasting impression that lingers in the mind long after the music fades.

While the inclusion of Mozart’s ‘Alla Turca’ Sonata and Webern’s Op. 27 might puzzle some listeners, they hint at a broader narrative that will likely unfold in subsequent volumes of the series. Tiberghien’s commitment to exploration and his impeccable pianism remain constants throughout, offering a tantalizing glimpse into the world of variations and setting high expectations for the journey that lies ahead.

Harmonia Mundi’s recording captures Tiberghien’s nuanced dynamics and expressive phrasing with remarkable clarity, allowing every subtlety of his performance to shine through. As the first step in what promises to be an illuminating series, “Complete Variations” introduces us to the enigmatic world of Beethoven and beyond, inviting us to join Tiberghien in his musical expedition.

Rachel Willis-Sørensen, the talented American soprano, presents her second solo album, following her debut titled “Rachel” released last year. Following her impressive debut with “Rachel,” the American soprano now immerses herself in the evocative world of Strauss, weaving a tapestry of vocal brilliance that leaves us utterly spellbound.

At the heart of this album lie the famous “Four Last Songs,” expertly interpreted by Willis-Sørensen. Her voice, a sublime instrument of lyricism, paints a rich and vivid soundscape, adorned with a myriad of colors that bring Strauss’ compositions to life. In particular, her rendition of “Im Abendrot” is simply breathtaking, evoking an emotional depth that resonates with the soul.

While Willis-Sørensen’s vocal prowess is truly remarkable, she navigates the higher registers with grace, infusing her artistry with an elegant and passionate phrasing. Though there are fleeting moments of openness in the higher notes, they hardly detract from the overall brilliance of her performance, revealing her exceptional control and expression.

In the final scene from “Capriccio,” Willis-Sørensen captivates us with her portrayal of a Countess, her aristocratic demeanor interwoven with raw passion. Drawing parallels to legendary sopranos like Renée Fleming, she masterfully captures the essence of the character, adding a touch of theatrical brilliance to the album.

The orchestral accompaniment, provided by the Gewandhaus Orchestra Leipzig under the baton of Andris Nelson, is nothing short of awe-inspiring. The orchestra’s intense and expressive rendering perfectly complements Willis-Sørensen’s luminous vocals. With an array of lush and resplendent moments intertwined with soul-stirring twilight tones, the ensemble truly captures the essence of Strauss’ mesmerizing compositions.

In “Four Last Songs,” Rachel Willis-Sørensen takes us on an unforgettable journey through Strauss’ evocative realm, unlocking the emotional depths of each piece. Her captivating artistry, combined with the Gewandhaus Orchestra’s powerful performance, makes this album an absolute treasure for any classical music connoisseur. Rachel Willis-Sørensen’s “Four Last Songs” is a striking display of her exceptional talent and profound connection with the masterful compositions of Richard Strauss. A must-have addition to any music collection, this album is an auditory delight that will leave you yearning for more, long after the final notes have faded away.

Prepare to be enthralled by the sensational pianist Frank Dupree as he embarks on a mesmerizing Kapustin odyssey, featuring the exuberant Piano Concerto No. 5 and two captivating works for two pianists. A virtuoso like no other, Dupree’s prodigious talent shines brightly, leaving audiences spellbound with his flawless technique and infectious passion for the music.

The album’s heart lies in the dazzling Piano Concerto No. 5, a magnum opus dedicated to the legendary Nikolai Petrov in 1993. From the very first note, Kapustin’s unmistakable fusion of classical and jazz elements envelopes you in a whirlwind of emotions. Dupree skillfully navigates the complex musical landscape, where melodies come rushing in like waves, and the rhythm dances with an intoxicating allure. The concerto’s five interconnected movements, spanning just under 21 minutes, are a breathless journey of surprises, keeping listeners on the edge of their seats throughout.

Dupree’s command over Kapustin’s unique musical language is awe-inspiring. The daunting passages that would make an average pianist tremble are a mere plaything for him. His hands seem to dance effortlessly across the keys, and his interpretative prowess breathes life into every phrase. This is no mere performance; it’s a masterful dialogue between the artist and the composer, as if Kapustin’s spirit were guiding Dupree’s fingers.

In the Concerto for two pianos and percussion, Dupree finds an equally talented partner in pianist Adrian Brendle, along with the brilliant drummer Obi Jenne and percussionist Franz Bach. Together, they weave a tapestry of intricate rhythms and harmonies, showcasing the full extent of Kapustin’s musical genius. The trio’s synergy is a joy to witness, and conductor Dominik Beykirch expertly guides the ensemble, ensuring a seamless musical journey.

The crowning jewel of the album is the delightful Sinfonietta for piano four hands, composed in 1986. Here, Dupree and Brendle exude a palpable sense of joy and camaraderie. The music sparkles with effervescence, drawing inspiration from jazz, ragtime, and the unmistakable charm of Gershwin. Each movement is a burst of energy, carrying the listener along on a euphoric ride.

In this brilliant recording, Frank Dupree showcases not only his remarkable technical prowess but also his deep understanding and affinity for Kapustin’s music. With every note, he unravels the intricate layers of the composer’s vision, delivering an electrifying performance that lingers in the mind long after the music fades. This album is a treasure trove for fans of Kapustin’s work and a gateway for those eager to explore the thrilling confluence of classical and jazz. If you’re ready for an unforgettable musical adventure, join Frank Dupree on this mesmerizing journey into Kapustin’s musical wonderland.

In their second installment of Haydn’s Piano Trios, the Trio Gaspard once again delivers a spirited and engaging performance, showcasing their commitment to both historical authenticity and contemporary musical exploration. The album, titled “Haydn: Piano Trios, Vol. 2,” presents a captivating selection of compositions, ranging from Haydn’s early divertimento to later, more mature works, along with a playful addition by contemporary composer Leonid Gorokhov. Released under the Chandos label (CHANDOS CHAN20270), this recording captures the Trio Gaspard’s vibrant interpretations and thoughtful artistic choices.

The album commences with a charming four-movement divertimento from the early 1760s, offering a glimpse into Haydn’s musical evolution before his renowned association with Prince Esterházy. While the piece exudes a certain innocence, it’s the slow movement that truly captivates, featuring an expressive keyboard solo enveloped by delicate violin and cello accompaniment. The Gaspard string players cleverly switch to pizzicato during the repeat of the opening section, adding a touch of imaginative variation.

Moving forward, Trio No. 21, composed in the mid-1780s, defies convention by omitting a slow movement. The opening Allegro initially appears traditional, but Haydn surprises the listener with bursts of chromatic syncopation, skillfully introduced and reintroduced throughout the composition. The subsequent pieces, composed approximately a decade later during Haydn’s London sojourn, showcase the composer’s mastery of emotional depth and liveliness. The slow movements are infused with poignant expressiveness, and the finales, notably the Presto assai ‘in the German Style’ of Trio No. 45, exude a contagious vitality that keeps the listener engaged.

Trio Gaspard’s performances are marked by their spontaneity and vivacity, effectively capturing the essence of Haydn’s musical spirit. However, their penchant for adding ornamental flourishes during repeats occasionally veers into the realm of fussiness, subtly tugging at the balance between authenticity and embellishment.

A distinctive feature of this album series is the inclusion of commissioned works inspired by Haydn’s legacy. In this volume, Russian cellist and composer Leonid Gorokhov contributes a playful piece titled “For Gaspard.” Written in a mock-Haydn style, Gorokhov skillfully integrates snippets of Haydn’s D major Cello Concerto, infusing the composition with a sense of humor and homage. While the initial wit is appreciated, the novelty of the joke can wear thin over repeated listens.

“Haydn: Piano Trios, Vol. 2” by Trio Gaspard offers a well-rounded exploration of Haydn’s compositional evolution, brought to life through the ensemble’s energetic performances. The Trio Gaspard’s commitment to authenticity, combined with their willingness to experiment with playful contemporary additions, makes this album an engaging addition to any classical music enthusiast’s collection. While some interpretative choices may prompt discussions on the fine line between authenticity and embellishment, there’s no denying the trio’s passion and dedication to Haydn’s musical legacy.

In this latest release featuring Boris Giltburg on piano alongside the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko, the spotlight is undeniably on Giltburg’s unique interpretation of Ludwig van Beethoven’s Piano Concertos. While the recording showcases exquisite playing and a deeply Romantic approach, it grapples with the challenge of recorded balance, particularly in Beethoven’s Third Piano Concerto.

The album opens with Beethoven’s Third Piano Concerto, and immediately, the crisp and lean introduction by Petrenko and the RLPO sets the stage. Giltburg’s performance shines with a sonorous, bell-like tone that’s so closely recorded it sometimes tips the balance, giving the impression of a star soloist against a backdrop of orchestral accompaniment. This approach carries the risk of overshadowing the orchestral contribution and transforming the concerto’s atmosphere into a piano-centric experience. Giltburg’s rendition of the Largo is sensitive and immediate, yet its sonic richness occasionally veers towards self-indulgence.

Giltburg’s artistic voice, characterized by its poetic qualities, is evident throughout this album. Drawing comparisons to a Keatsian approach rather than a Drydenian one, he skillfully emphasizes the Romantic elements embedded within Beethoven’s music. However, at times, this approach leads to a minor concern of self-regard, wherein the piano becomes so thunderous that the authenticity of a live concert experience is somewhat lost.

The Fourth Piano Concerto takes a step forward in terms of balance between the orchestra and soloist, possibly due to the three-year gap between the recording sessions. Giltburg’s performance aligns more harmoniously with the 19th-century sensibilities that define the piece. His deft use of rubato and his rich sonority find a suitable home in this concerto, where the music yearns for a more Romantic interpretation. The Fourth Concerto showcases Giltburg’s virtuosity through impressive trills and runs, although some listeners might find the piano’s clangorous and overbearing tone to be a slight drawback.

The recording’s engineering becomes a central issue that occasionally overshadows the artistic intentions. In an era where recording quality is often excellent, this release stands as an exception, occasionally detracting from the overall experience. However, it’s worth noting that this factor does not diminish Giltburg’s expressive manner and his unique interpretation of Beethoven’s works.

In conclusion, Boris Giltburg’s exploration of Beethoven’s Third and Fourth Piano Concertos on this album offers a distinctive perspective that leans toward Romanticism, captivating listeners with his sonorous playing and poetic approach. While the recorded balance and engineering nuances might present challenges, Giltburg’s interpretation remains a focal point, making this release a notable addition to the world of Beethoven interpretations. Whether you’re a staunch admirer of the Third Concerto or hold a preference for the Fourth, Giltburg’s expressive renditions will undoubtedly leave an indelible mark on your Beethoven journey.