Beethoven’s Diabelli Variations starting point is widely known. In 1819, the Viennese publisher Anton Diabelli sent more than 50 Austrian composers a waltz of his own making, asking each of them to compose a variation to be included in a collective publication. The initiative was joined by some of the leading musicians of the time, including Czerny, Hummel, Schubert, Moscheles, Kalkbrenner, Tomasek and little Liszt. Beethoven, on his part, composed not one but 33 variations which turned to be his famous opus 120. 

In 1973, Rudolf Buchbinder recorded a double disc with Beethoven’s Diabelli Variations on the one hand and the other 52 collective variations on the other.  In 2020, for the Beethovenian anniversary, Deutsche Grammophon was the chosen label by the pianist to publish a double album, named The Diabelli Project. The project aims to repeat the story: just like Diabelli did one day, Buchbinder has commissioned new variations from several renowned current composers. Eleven were the selected artists for this important mission: Lera Auerbach, Brett Dean, Toshio Hosokawa, Christian Jost, Brad Lubman, Philippe Manoury, the late Krzysztof Penderecki, Max Richter, Rodion Shchedrin, Johannes Maria Staud, Tan Dun and Jörg Widmann. 

The interpretation of Beethoven’s Diabelli Variations is admirable, and they highlight the artist’s phenomenal mastery. His performance is always very conservative and cautious scrupulously sticking to the original score almost to perfection. There is not much innovation in terms of sound and color. It is indeed very loyal to Beethoven’s creation. 

With this album Buchbinder revalues certain composers and the brilliant quality of their work. Hearing a work by Liszt as a teenager is something priceless, but works from Hummel, Kalkbrenner, Moscheles or Kreutzer also deserve great consideration.  

Out of the 11 contemporaries, Toshio Hosokawa, Rodion Chtchedrine, and Jörg Widmann, approach the idea of ​​variation from a theme in the old sense of the genre.  And only very few (Manoury, Jost, Chtchédrine, Staud) respect the “logical” time extension of between one minute and two and a half minutes, and some of them even go over five minutes. But when the piece is as beautiful and interesting as Lera Auerbach’s or Tan Dun’s, I think we can gladly elude this fact.  

Being a disciple of the great Austro-Germanic tradition, Rudolf Buchbinder playing is emotionally reserved and is characterized by a dominant technique at the service of the composer. However, this fact doesn’t rest personality in his interpretations which can be easily noticeable, rewarding us with a powerful, bright and nuanced sound with great contrasts between forte and piano and small inflections in the musical line.  The fast tempi are brisk, and the slow ones keep the right tempo, very elegant and graceful never falling into a lethargic state.  

These interpretations full of sonic nuances and technical greatness perfectly portray the essence of Beethoven’s harsh humor. 

Klára Würtz’s rendition of Bach’s Goldberg Variations is a hidden gem in the world of classical piano recordings. With a reputation for delivering outstanding performances on seemingly unassuming labels, Würtz continues to impress with her latest release, showcasing her mastery of the piano and her deep understanding of Bach’s intricate composition.

In this recording, Würtz displays a remarkable level of sophistication, presenting the Goldberg Variations with a touch of subtlety that captivates the listener. Throughout the 77-minute performance, she diligently adheres to the original score, playing all repeats, but what truly sets her interpretation apart is her ability to maintain interest and momentum without resorting to extravagant changes in color, volume, or ornamentation between the variations.

Würtz’s brisk tempos infuse the music with an energetic spirit, which carries the listener through the variations with a consistent and engaging flow. Her attention to detail and technical prowess allow her to showcase the intricate polyphony without it ever feeling overbearing. Instead, each voice in the contrapuntal textures shines brightly, contributing to a harmonious whole that is both intellectually stimulating and emotionally satisfying.

One of the highlights of Würtz’s performance is her skillful navigation of hidden voices within the music. With a delicate touch, she brings these voices to the forefront or allows them to recede subtly, unveiling the multiple layers of the composition and revealing the complexity of Bach’s genius.

Another commendable aspect of Würtz’s interpretation is her restrained use of the pedal. She employs it sparingly, primarily as a support to the music, adding an additional layer of resonance without overshadowing the wonderful singing line that flows throughout the variations.

Würtz’s performance of the Goldberg Variations is a testament to her deep connection with the music and her ability to convey its beauty and brilliance with a sense of ease and grace. While her recordings may not always receive the fanfare they deserve, this one should not be overlooked. It stands shoulder to shoulder with the best interpretations of this timeless masterpiece, proving that Klára Würtz is undoubtedly a pianist of exceptional talent and sensitivity. Whether you are a long-time admirer of Bach’s work or a newcomer to his music, this recording deserves a place in your collection.

Lise Davidsen’s album “Grieg” is a remarkable and essential release that should be celebrated as a rare gem in the classical music world. The collection brings a unique freshness to the music of Norway’s most celebrated composer, Edvard Grieg, and showcases the extraordinary chemistry between the two Norwegian superstars – the stunning soprano, Lise Davidsen, and the renowned pianist, Leif Ove Andsnes.

From the very first note, Lise Davidsen’s voice leaves a profound impression. Her vocal prowess is immediately evident, possessing a rare combination of rich beauty, powerful strength, and grandeur. Yet, what sets her apart is the ability to scale back to the most intimate and delicate pianissimo. Davidsen’s voice serves as an instrument of expression, effortlessly conveying emotion and nuance in every phrase.

The partnership with Leif Ove Andsnes proves to be a masterstroke. Andsnes’s piano playing is a testament to refinement and sensitivity. Each note is carefully placed and voiced, avoiding any temptation to overshadow the vocal performance. While some may initially find his approach understated, it becomes clear that this subtlety allows the emotional depth to blossom, creating moments of intense power when the emotions eventually pour forth.

Decca’s engineering further enhances the listening experience, capturing the full range and magnificence of Davidsen’s voice alongside Andsnes’s exceptional playing. The result is an album that deserves a prominent place in any Grieg aficionado’s collection.

The album’s centerpiece is the Haugtussa cycle, where the artists’ approach truly shines. In “Møte” (Meeting), the turning point of Haugtussa, Davidsen and Andsnes build the tension masterfully, leading to a mesmerizing and emotionally charged climax. Throughout the cycle, Davidsen effortlessly shifts between authoritative vocals and delicate, heartfelt expressions, creating a captivating narrative.

The rest of the album maintains the exceptional standards set by the opening Haugtussa. Highlights include the late Five Songs, Op. 69, and the Six Songs, Op. 48, as well as other well-chosen selections. “A Swan” stands out with its powerful stillness, while “Jeg elsker dig” (I Love But Thee) is delivered with irresistible tenderness. The Op. 69 songs are particularly compelling, with Davidsen showcasing her impressive dynamic range, leaving a lasting impact on the listener.

Comparisons to previous recordings of Grieg’s songs are inevitable, but Davidsen and Andsnes present a compelling case for their distinct interpretation. While Anne Sofie von Otter’s Grieg recital may remain a benchmark for some, Davidsen and Andsnes bring a fresh and emotionally raw approach that captivates from start to finish.

In conclusion, “Grieg” by Lise Davidsen and Leif Ove Andsnes is a captivating and exceptional showcase of Norwegian talent. Their approach to Grieg’s music is powerful and emotionally charged, and the chemistry between the two artists is nothing short of magical. This album should be considered an outstanding release and is no less essential than other celebrated recordings of Grieg’s works.

Cecilia Bartoli’s “Unreleased” is a compilation of mostly concert or insertion arias, recorded in 2013 but not previously released. While the selection features some well-known pieces, it also introduces listeners to the works of Josef Mysliveček, a lesser-known composer who had a significant influence on the younger Mozart.

Despite being one of Decca’s best-selling classical artists, these Swiss recordings were kept under wraps for over eight years. Perhaps Bartoli initially hesitated to share them, but now, the time has come to reveal the emotions captured in these masterful performances.

The late 18th-century scenas showcased in the album witness Bartoli’s mezzo-soprano voice in its evolved state, with a darker and more enigmatic middle register by 2013. Yet, her dramatic flair and innate ability to connect with the essence of the music remain as vivid as ever. Each character she portrays emerges as a vibrant and distinct individual, a testament to her artistry that defies bland generic interpretations.

Italian-born musicians have a natural advantage in this repertoire, and Bartoli’s skillful use of her native language infuses every phrase with nuanced expressiveness. From the venomous rolled ‘r’ that opens Beethoven’s ‘Ah! perfido’ to the impassioned recitatives, Bartoli’s delivery possesses the power of a seasoned tragic actress. Her rendition of Mozart’s ‘Ah, lo previdi!’, a vocal masterpiece, is an intense experience as she fearlessly embodies the desperate Andromeda, grieving for her dying husband while yearning for her own release.

The album also presents delightful duets with the acclaimed violinist, Maxim Vengerov. Together, they explore ‘Non temer, amato bene’ from Idomeneo and the beloved ‘L’amerò’ from Il re pastore, creating moments of tender yearning and seamless musical synergy. Although the violin’s playful interludes in the second part of Idamante’s scena might challenge the literal meaning of the words, Bartoli’s passionate performance compensates beautifully.

An exceptional rarity in the album is the lyrical aria for the lovelorn and wavering Sesto from Mysliveček’s La clemenza di Tito, predating Mozart’s setting by almost two decades. Bartoli brings an inward grief to the piece, skillfully utilizing the chromaticism written by Mozart to challenge soprano Josepha Duschek, thus intensifying the character’s troubled state of mind. In the Allegro, Bartoli’s signature piledriver coloratura, though polarizing, contributes to an expressionist climax that echoes the extremes she fearlessly explores in her Scena di Berenice.

Throughout the album, the Basel Chamber Orchestra, under the skilled baton of Muhai Tang, provides sensitive accompaniment, enhancing the emotional journey. However, the balance occasionally favors Bartoli, muting the subtlety of Haydn’s woodwind colors in the Scena di Berenice. Nevertheless, her devoted followers will cherish the exceptional artistry showcased in “Unreleased,” and Decca redeems itself with full texts, translations, and an insightful essay by Markus Wyler, providing context to each composition. This long-awaited collection unearths a spectrum of emotions, where Bartoli’s passion and artistry take center stage, making it a captivating and indispensable addition to any classical music lover’s collection.

In this CD, mezzo-soprano Joyce DiDonato and conductor-pianist Yannick Nézet-Séguin offer us Schubert’s Winterreise (Winter Journey), considered for many as the most brilliant song cycles ever written. DiDonato, however, gives a personal approach on this beloved cycle of 24 songs in telling their story from the perspective of the woman, the lost love.   

Vocally, Joyce DiDonato is superb, with a full, enameled timbre; and with a song rich in colors and accents. It is truly a luxury to hear such a wonderful voice and admire her technique and intelligence. 

Her pianist is the outstanding conductor Yannick Nézet-Séguin with who she’s been working for long time. In fact, she had never considered taking on such a challenging project, but it was Nézet-Séguin who persuaded her.  

When “Gute Nacht” begins it is instantly clear what sets her performance apart from others; what stands out is the deep emotion that she carries with her voice, as she plays with the syllables enlarging them and enhances her tone at times. With her contrasts she achieves to transmit great emotions, communicating a from a cold emptiness in the opening of “Gefrorne Tränen,” to a gradual growth of her emotions that lead to a vehement proclamation. 

“Der Lindenbaum” gives DiDonato the perfect opportunity to show the impressive control she has over her instrument, which she can modulate at will to change the entire timbre of her voice. She can go from a crystal clear top voice in “Irrlicht”  to a firely chest voice, moving fast and graciously from one to the other, and back. 

DiDonato’s voice stands out and makes up for what the most exigent listeners have described as: various too loud high notes and some too weak potentially expressive consonants and vowels not perfectly pronounced.  

With this CD Joyce DiDonato has undoubtedly proven once again that she is a great artist.

Liszt’s ‘Freudvoll und Leidvoll’, performed by the magnetic Heldentenor Jonas Kaufmann, promises to be an exciting exploration of the legendary composer’s charismatic songs. However, despite the potential, this album falls short of its promises due to several factors that hinder its full potential.

The intimate sound picture of the album, both for Kaufmann’s stentorian tenor moments and pianist Helmut Deutsch, further detracts from the sense of expanse that Liszt’s music typically demands. Liszt’s songs are characterized by a narrative sense that utilizes a variety of musical ideas in a concise space, but Kaufmann and Deutsch struggle to maintain cohesiveness in their interpretations. They often go for maximum impact in every verse, resulting in a lack of subtlety and depth. Liszt’s pictorial effects lose their immersive quality and become mere window dressing, missing the opportunity to open doors into a larger musical world.

Recorded in June 2020, one of the key drawbacks is Kaufmann’s vocal state during the sessions. Although he tries to scale back his voice for the more delicate pieces, some songs suffer from an aggressive rather than a heroic effect. Kaufmann’s vocal fragility becomes evident in the more tender songs, where he fails to deliver the desired emotional depth. This contrasts with the more lyrical approach of Allan Clayton in Hyperion’s complete Liszt songs, which proves more fitting for the music’s expressive range.

While Kaufmann is undoubtedly a credible lieder recitalist, his talents are better suited to Schubert’s visionary ‘Winterreise’ than to the ardent Petrarch Sonnets. In these Petrarch Sonnets, his lack of rhetorical authenticity is evident. Additionally, his use of a micro voice, what some might call a “Helden-whisper,” is appropriate in certain instances, such as in ‘Über allen Gipfeln ist Ruh.’ However, it robs him of the vocal colors and range of articulation needed to fully embody the songs in other moments.

The album does include some evergreens, like the Petrarch Sonnets and ‘O Lieb, solang du lieben kannst,’ which offer enjoyable moments for listeners. However, it struggles in comparison to other less-charted realms of Liszt’s compositions. Songs like ‘Freudvoll und Leidvoll’ showcase a different side of the composer, but Kaufmann and Deutsch fail to fully explore the intricacies of these lesser-known works.

Despite its shortcomings, one cannot deny the courage of great artists like Kaufmann, who venture outside their comfort zones. While this Liszt recital may not reach the heights expected from such talented performers, it serves as a testament to Kaufmann’s vocal prowess and the complexities of interpreting Liszt’s music. For those seeking a more coherent and nuanced Liszt experience, other recordings, such as Hyperion’s series with Angelika Kirchschlager and Julius Drake, might prove more rewarding.