Anita Rachvelishvili, renowned for her commanding presence on operatic stages, takes a daring turn with her latest album ‘Élégie,’ a collaboration with pianist Vincenzo Scalera. Shedding her powerhouse arias, Rachvelishvili explores the realm of art songs, offering a captivating journey through Russian, Georgian, Italian, French, and Spanish compositions. The album’s concise duration of 60 minutes allows for a focused exploration, divided into two distinct halves – the first featuring Tchaikovsky, Rachmaninov, and Otar Taktakishvili, while the second embraces Tosti, Duparc, and Manuel de Falla.

Commencing with three Tchaikovsky songs, Rachvelishvili’s resonant mezzo voice instantly recalls the great Olga Borodina, a predecessor who embodied similar roles. Yet, Rachvelishvili adds her own flare, occasionally drifting into operatic intensity, a testament to her stage-honed prowess. The climactic moments in ‘Reconciliation’ bring forth a raw emotional depth, distinct from Borodina’s polished rendition. Moments of restraint reveal Rachvelishvili’s delicate nuances, albeit with an occasional hint of strain, as evidenced in the ethereal ‘float’ within Rachmaninov’s ‘How fair this spot.’

The Georgian folk essence blooms in ‘Sing not to me, beautiful maiden,’ a captivating nod to Rachvelishvili’s heritage. Otar Taktakishvili’s ‘Sun of Haying Month’ stands out as a melancholic gem, embellished by the solemn tolling of a piano bell, a somber touch that resonates profoundly.

The emotive realm of Tosti’s sentimental pieces seems slightly incongruous with Rachvelishvili’s powerhouse style. A similar sentiment echoes through the three Duparc songs, occasionally missing the finesse required for these pieces. However, a dramatic transformation occurs with Manuel de Falla’s ‘Siete Canciones populares españolas.’ Collaborating with Scalera, Rachvelishvili unleashes her inner Carmen, infusing these Spanish compositions with unrestrained passion. The fiery ‘Polo’ showcases a formidable chest register, exuding both strength and artistry.

‘Élégie’ is a bold testament to Rachvelishvili’s artistic journey, a departure from operatic grandeur into the nuanced world of art songs. While her transition occasionally blurs the lines between opera and recital, Rachvelishvili’s commitment to diverse musical styles and her ability to convey intense emotions remain palpable. As she traverses the rich tapestry of languages and cultures encompassed in this album, ‘Élégie’ captures a snapshot of Anita Rachvelishvili’s evolving artistic exploration, showcasing her versatility and unwavering dedication.

Nicola Benedetti and the Benedetti Baroque Orchestra released “Baroque,” a captivating exploration of Geminiani and Vivaldi’s concerti, focusing on the operatic and communicative aspects of the Concerto Grosso genre. The album delves into the dynamic and narrative spirit often overlooked in this musical form.

The album’s opening features Geminiani’s D minor concerto, which incorporates the famous La folia theme from Corelli’s Sonata Op. 5 No. 12. The arrangement for a larger ensemble adds a robustness that makes it an exhilarating listen. The highly virtuosic first movement showcases impeccable collaboration between Benedetti and the ensemble, with synchronized handoffs and articulation. The final variation, with its furious presence, effectively shifts the melodic line from the assertive solo violin to the bass.

The second and third movements maintain a lively pace while offering more diversified variations. The musicians skillfully highlight a range of characters, from elegant and dancelike to contemplative. Notably, a slow variation in the third movement stands out for its sliding dissonances and suspensions, beautifully rendered through skilled voicing and harmonic calibration.

Vivaldi’s E-flat Major Concerto, though less famous, exemplifies Benedetti’s interpretation of the Concerto Grosso as multifaceted and commanding. The first movement features a compelling conversation between the soloist and the ensemble, with Benedetti’s clear and crystalline tone complemented by buoyant runs, arpeggios, and trills. The orchestra’s depth and roundness enhance the overall balance, while the harpsichord adds a distinctive timbre to the piece.

In the Adagio, the transformation of character is beautifully displayed, with the ensemble’s resoluteness giving way to a gentle dignity in swaying dotted rhythms. Benedetti infuses the piece with a spontaneity that diverges from the precise rhythms of the opening movement, creating a more intimate atmosphere. The interchanges between the violin and lute add a fine layer of nuance to this exquisite performance.

The album reaches its operatic pinnacle in the B Minor Concerto, where a dramatic ensemble sets the stage for Benedetti’s expressive and imploring solo lines. The violin stands out as an individual voice, effectively conveying the essence of a “love dispute gone wrong” as envisioned by Benedetti.

The sound engineering deserves praise for striking the right balance between the ensemble’s heftiness and the brilliance of the solo violin. Benedetti and her ensemble succeed in bringing out the vibrance of the Concerto Grosso genre, captivating listeners throughout the recording. Moreover, the album emphasizes the essence of the genre, emphasizing the partnership between soloist and ensemble over soloist glorification.

 “Baroque” by Nicola Benedetti, is a top-notch effort from all performers, offering a compelling and immersive listening experience. It is an album that merits multiple listens and deserves a place on any music lover’s shelf. Enthusiastically recommended.

The legendary Juilliard String Quartet marked its 75th anniversary with an exquisite recording featuring its most recent addition, first violinist Areta Zhulla. Under the Sony Classical label, the quartet presents a captivating program featuring Bartók’s String Quartet No. 3, Beethoven’s String Quartet No. 8, Op. 59 No. 2 ‘Rasumovsky,’ and Dvořák’s String Quartet No. 12 ‘American.’ This album not only showcases the quartet’s celebrated tonal beauty but also highlights their sensitively attuned ensemble and remarkable technical prowess.

In Beethoven’s second Razumovsky Quartet, the Juilliard String Quartet offers a refreshing perspective that may surprise those accustomed to leaner, grittier interpretations. Instead, the quartet embraces a full-blown romanticism, reminiscent of Dvořák’s American Quartet. This approach emphasizes the tonal beauty of the ensemble and allows for high expression, resulting in meticulously crafted ideas. The quartet projects their musical ideas with a sense of grandeur, as if performing to the back of a grand hall, resulting in expressive twists and turns that occasionally become larger than life on a recording. Yet, the crisp rhythms and airy textures are ideally coordinated, combined with gorgeously vocal phrasing, delivering a splendid performance filled with pizzazz.

Bartók’s String Quartet No. 3 bursts forth in vivid technicolor, showcasing the quartet’s attention to detail and the complexity of textures achieved with just four instruments. The quartet’s microfocused approach allows them to navigate the intricate musical landscapes with astonishing clarity and precision, immersing listeners in the composer’s rich and evocative world.

Closing the album, Dvořák’s American Quartet is a feast of energy and color. The Juilliard String Quartet infuses the work with a sense of dynamism, capturing the spirit of the “New World” that inspired the composer. The recording strikes an ideal balance between intimacy and spaciousness, allowing the quartet’s tone to breathe and glow, immersing the listener in the work’s delightful melodies and rhythmic vitality.

Throughout the recording, the Juilliard String Quartet demonstrates why they remain an enduring and revered ensemble in the world of chamber music. Their remarkable artistry, honed over decades, shines through in every note. Areta Zhulla’s seamless integration into the ensemble is evident, adding a fresh dimension to the quartet’s celebrated legacy.

he Juilliard String Quartet’s recording of Bartók, Beethoven, and Dvořák is a masterpiece of tonal beauty and technical splendor. From the expressive power of Beethoven to the intricacies of Bartók and the vivacity of Dvořák, this album is a must-listen for chamber music enthusiasts.

Martha Argerich, the revered virtuoso, joins forces with Greek pianist Theodosia Ntokou in a remarkable recording of Beethoven’s Symphony No. 6, beautifully arranged for piano four hands by former Allgemeine musikalische Zeitung editor Selmar Bagge. Argerich’s mentorship of Ntokou over the past decade is evident in their engaging and cohesive performance, where they complement each other’s strengths to deliver a fresh and insightful interpretation.

The centerpiece of the album is Beethoven’s Tempest Sonata, performed with dramatic poise and an acute awareness of Classical style by Ntokou. Rather than succumbing to the common Sturm und Drang approach in the outer movements, she unveils Beethoven’s profound structural narrative. This approach allows the sublime central Adagio to shine as an integral part of the music’s fabric, rather than merely a transitional space between the energetic soundscapes.

The Pastoral Symphony, in its piano four hands rendition, becomes a revelatory experience under Argerich and Ntokou’s hands. Their reading defies impulsiveness and instead presents a refined, deeply thoughtful interpretation. Argerich’s pianism remains captivatingly spontaneous and responsive, while her exquisite refinement distills her interpretative essence to its purest form. Ntokou’s artistry expertly counterbalances Argerich’s, offering captivating flair, acute sensitivity to textures, and finely graded tonal matching.

Throughout the recording, the collaborative chemistry between Argerich and Ntokou is palpable, showcasing their shared musical insights and mutual respect for each other’s talents. The interplay between the two pianists creates a captivating dynamic, enveloping the listener in the intricacies of Beethoven’s masterpieces.

This recording of Beethoven’s Symphony No. 6 in piano four hands arrangement is a captivating journey of musical insight. Argerich and Ntokou’s partnership demonstrates a profound understanding of Beethoven’s vision, highlighting the composer’s structural depth and expressive nuance. The seamless interplay between the two pianists adds an extra layer of artistry to the performance, making this album a must-listen for classical music aficionados seeking a fresh and enlightening take on Beethoven’s timeless works.

It was 1989 when Krystian Zimerman and Leonard Bernstein joined forces for the first time to record Beethoven’s Piano Concertos Nos. 3, 4 and 5. The resulting recording was extraordinary because it was the result of their deep passion for music and the strong link build between them.   

When Mr. Bernstein died the cycle was not completely recorded, but Zimerman didn’t leave the project unfinished. He kept on conducting the remaining Concertos Nos. 1 and 2 from the keyboard in 1991.  

Now, 30 years after his first recordings, concluding the Beethoven anniversary celebrations, Zimerman comes back to Beethoven’s Piano Concertos in a brand-new interpretation recorded with Sir Simon Rattle and the London Symphony Orchestra.  

“Bernstein’s way of making music made a big impression on me,” said Zimerman. “He gave me the courage and the self-confidence to dare something in my interpretations, to try out completely new musical ideas. […] Only with one conductor, it was similar – with Simon Rattle. ” 

The unique affinity between Krystian Zimerman and Sir Simon Rattle is built with years of mutual esteem and shared common principles. the musical communication between Zimerman, Rattle and the LSO is purely harmonious and results in the one of the best inspiring teamworks ever. 

The first movement simply flows with the waves until the heart of the development, after which it slowly eases itself down rewarding us with the magical work of the soloist. Zimerman’s particular sense of fluidity is beautifully articulated in that transition from time-standing-still controlled movement to airy explosion of vitality to head the finale, but with never losing the gracefulness.  

The Polish pianist polished playing is admirable right from the piano response to the bold, forte ascending opening motif of the Third Concerto. Zimerman’s playing is marked by cleanness and accuracy. His phrasing is meticulously balanced, and we can easily visualize the velvety touch with which he tickles the ivories.   

The entire concerto is gloriously played by the LSO full of elegance, which is with no doubt the most remarkable quality of this first Concerto. Performed with admirable sensitivity, the movements are reflective, but never mournful. Rattle never lingers and only occasionally makes his musical points a little too energically.  

Zimerman, Rattle and the LSO offers us a remarkable performance.