In the rich tapestry of Baroque music, the violin emerged as a stellar instrument, capturing hearts with its virtuosic displays and emotive capabilities. The album “Duello d’archi a Venezia” presents a captivating journey through the works of four remarkable violinist-composers from the early 18th century. Chouchane Siranossian, accompanied by the Venice Baroque Orchestra under the direction of Andrea Marcon, leads listeners into the enchanting world of Vivaldi, Locatelli, Veracini, and Tartini, delivering a performance that masterfully showcases the evolution of the solo concerto.

The album opens with Antonio Vivaldi’s “Il grosso Mogul,” an early exemplar of virtuosity. This concerto shines as a prime showcase of Vivaldi’s technical prowess and innovation. Chouchane Siranossian’s rendering captures the flamboyance of the composer’s writing, with her violin dancing effortlessly through intricate double stopping and lightning-fast passages. The Venice Baroque Orchestra’s accompaniment, led by Marcon, provides a solid foundation, allowing Siranossian to take center stage.

Pietro Antonio Locatelli’s works, including his Op. 3 concertos, reveal a composer who bridges the gap between technical brilliance and expressiveness. Siranossian’s approach highlights the balance between the dazzling solo passages and the extended cadenzas, or capricci, which she navigates with finesse. The concerto’s captivating slow movements reveal a more introspective side of Locatelli’s composition, and Siranossian’s sensitive phrasing and ornamentation breathe life into these moments.

Francesco Maria Veracini’s “Concerto a 8 stromenti in D” offers a grandeur akin to Vivaldi’s concerti a molti stromenti. Here, Siranossian’s violin competes for attention with pairs of trumpets and oboes, creating a vibrant interplay. Her virtuosity blends seamlessly with the orchestra’s energetic accompaniment, resulting in a dynamic performance that encapsulates Veracini’s bold compositional style.

The album concludes with Giuseppe Tartini’s violin concerto in F, offering a departure from the flamboyant virtuosity found in the previous works. Tartini’s compositional approach prioritizes expressive depth over technical display, and Siranossian adeptly captures the introspective nature of this piece. Her nuanced interpretation breathes life into the intricate ornamentation and lyrical lines, inviting listeners into Tartini’s world of emotion and sensitivity.

Throughout “Duello d’archi a Venezia,” Chouchane Siranossian’s playing captivates with its technical precision, emotional depth, and vivid storytelling. Her ability to navigate the varying styles of these four violinist-composers is a testament to her artistry and understanding of the Baroque idiom. The collaboration with the Venice Baroque Orchestra, led by Andrea Marcon, is seamless, allowing for a dialogue between soloist and ensemble that enhances the music’s impact.

The album’s meticulous liner notes by Olivier Fourès provide historical context and insights into each composer’s work, enriching the listening experience. However, a minor error in the list of performers should have been addressed in proofreading.

“Duello d’archi a Venezia” offers a compelling journey through the evolution of the Baroque violin concerto, showcasing the technical brilliance and expressive depth of four outstanding composer-performers. Chouchane Siranossian’s virtuosity, combined with the Venice Baroque Orchestra’s artistry, makes this album a must-listen for enthusiasts of the Baroque era and beyond.

In an astute pairing that might raise eyebrows initially, Liya Petrova, the gifted Bulgarian violinist, brings together Walton’s Violin Concerto and Respighi’s Violin Sonata in a display of artistic prowess that finds a unique connection between these two diverse compositions. Both hailing from Italy, a country that exudes the essence of the Mediterranean, these pieces, when played by Petrova, seem to resonate with a shared vibrancy and fervor.

From the very first notes, a common thread of opulence and warmth weaves through both works. Petrova’s interpretation taps into this quality effortlessly, allowing the concerto’s spontaneous character to shine and skillfully molding its enchanting themes. The allure of her performance is particularly evident in the velvety descents to the G string, which she imbues with a seductive charm that is hard to resist.

Petrova’s approach to the recurring themes in the concerto is remarkable. As the woodwinds echo the opening motif towards the movement’s conclusion, her violin weaves a delicate tapestry around the melody, infusing it with tender introspection. At the same time, she captures Walton’s spirited essence, embracing the vivacious syncopation that underscores his distinct musical personality.

The recording’s immediate presence is an asset, effectively highlighting the soloist’s virtuosity while allowing the orchestra’s intricate layers to unfold. Guided by Duncan Ward, the Royal Philharmonic Orchestra maintains a responsive synergy with Petrova, resulting in a captivating interplay of energy and musical dialogue.

While Respighi’s Sonata in B minor might be overshadowed by more well-known compositions, Petrova’s performance thrusts it into the limelight. The transition from orchestra to piano, skillfully navigated by Adam Laloum, doesn’t diminish the piece’s impact. The first movement’s opening theme, while distinct, carries a distant echo of the concerto, forming an unexpected bridge between the works. Respighi’s signature neoclassical flavor is evident, intertwined with a theatrical flair that crescendos in the passionate climax of the slow movement.

However, Petrova’s true mastery lies in her ability to retain the sonata’s lyrical essence. Her Slavic temperament infuses the expressive passages with profound emotion, adding a layer of depth to the effusive writing. The juxtaposition of these seemingly disparate pieces, chosen with thoughtful intent, creates a unique synergy that enhances the appreciation of both compositions.

In summation, Liya Petrova’s performance of Walton’s Violin Concerto and Respighi’s Violin Sonata is a testament to her artistic finesse. Her capacity to capture the sultry allure and operatic grandeur embedded in both pieces showcases her deep grasp of their underlying spirit. Petrova’s deliberate pairing of these compositions underscores the fascinating interplay between seemingly unrelated works, revealing the unifying influence of the Mediterranean’s musical charm.

John Corigliano, a luminary of contemporary classical music, finds his profound piano compositions brought to life in a splendid new album titled “John Corigliano’s Piano Music.” Presented by the skillful hands of pianist Philip Edward Fisher and the Albany Symphony Orchestra under the direction of David Alan Miller, this album is a masterful celebration of Corigliano’s intricate and diverse piano works.

Fisher’s rendition of the Concerto for Piano and Orchestra sets the tone for the album. While Corigliano’s influences, such as Bartók and Barber, are discernible, Fisher injects an invigorating freshness into the performance. The nuanced phrasing and rhythmical precision he brings to the first movement are captivating, and the interplay between piano and clarinets in the Appassionato is executed with delicate finesse. Fisher navigates the fiendish fugue of the finale with impressive dexterity, supported seamlessly by the Albany Symphony Orchestra.

In the Fantasia on an Ostinato and Etude Fantasy, Fisher showcases his remarkable interpretive skills. The Fantasia is rendered with remarkable clarity, highlighting the intricate rhythms and underlying structure of Corigliano’s composition. The Etude Fantasy’s “Ornaments” section is a tour de force of pianistic virtuosity, with Fisher’s playing maintaining astonishing clarity even in the most demanding passages. The closing “Melody” leaves a lasting emotional imprint, skillfully delivered by Fisher’s expressive touch.

The standout inclusion, “Winging It,” serves as a bridge between Corigliano’s earlier and later works. This triptych of semi-improvisational pieces exhibits Fisher’s ability to capture the essence of Corigliano’s evolving style. The middle movement, with its introspective and bluesy elements, is a true revelation. Fisher’s interpretation shines a light on the depth and complexity of Corigliano’s musical journey over four decades.

Throughout the album, Fisher’s collaboration with the Albany Symphony Orchestra, led by David Alan Miller, is commendable. The orchestral textures never overpower Fisher’s piano, maintaining a perfect balance that enhances the listening experience.

“John Corigliano’s Piano Music” pays homage to a composer who has significantly shaped contemporary classical music. Philip Edward Fisher’s profound musicianship and technical prowess breathe new life into Corigliano’s piano compositions, delivering a collection that showcases the evolution of a remarkable composer. This album stands as a testament to the enduring creativity of Corigliano and the musicians who bring his music to life, making it a must-listen for enthusiasts of modern classical music.

Antonio Pappano’s recent recording of Puccini’s “Turandot” brings a grand revitalization to this intense and bewitching opera. While many contemporary opera recordings opt for more economical approaches such as capturing live stage performances, Pappano’s production stands as a testament to the enduring appeal of high-quality studio recordings, bolstered by star singers and meticulous orchestral execution.

In this rendition of “Turandot,” Pappano collaborates with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, a departure from his usual association with the Royal Opera House. This strategic move highlights Pappano’s mastery in diverse settings, showcasing his capacity to extract exceptional performances from orchestras across different locales.

“Turandot” is renowned for its juxtaposition of a grim fairy tale narrative with Puccini’s captivating musical compositions. The orchestra, under Pappano’s guidance, unveils the savage essence of the score, skillfully capturing its ceremonial grandeur and exotic allure. The recording’s impeccable sound quality magnifies the dramatic contrasts present in the music, even the pizzicato strings carrying an air of foreboding.

Notably, Pappano’s interpretation captures the haunting essence of the Santa Cecilia chorus, creating an aura of terror that envelops the listener. Despite the distancing constraints imposed by the pandemic, the chorus projects a palpable intensity that adds a layer of menace to the production.

A significant aspect of this recording is the inclusion of Franco Alfano’s original ending, a rare occurrence in a complete recording. Puccini’s untimely death led to the opera’s completion by Alfano, and Pappano’s embrace of the Alfano ending sheds new light on the opera’s climactic moments. While debated as problematic by some, the Alfano ending is given a fresh perspective through this interpretation.

The vocal cast boasts luminaries Sondra Radvanovsky, Jonas Kaufmann, and Ermonela Jaho, who rise to the occasion with compelling performances. Radvanovsky’s commanding soprano lends Turandot the necessary imperiousness, juxtaposed with moments of vulnerability. Kaufmann’s baritonal tenor, though less traditionally heroic, paints Calaf with layers of complexity, his rendition of “Nessun dorma” striking a poignant chord. Jaho’s heartfelt portrayal of Liù adds emotional depth to the narrative, her vocal acting infusing the character with authenticity.

Pappano’s “Turandot” emerges as a triumphant addition to the annals of opera recordings. It not only stands up to the formidable competition posed by historical renditions but also introduces the Alfano ending in a complete recording, offering a fresh perspective on this contentious aspect of the opera. With its stellar vocal performances, masterful orchestration, and audacious exploration of the opera’s alternate ending, Pappano’s “Turandot” secures its place as a standout entry in the operatic discography.

Isaac Albéniz’s intricate and evocative piano suites find a captivating advocate in pianist Sebastian Stanley, whose profound understanding of the composer’s intentions is evident in this remarkable album. The disc showcases Albéniz’s Suite Española Op. 47, a collection that encapsulates the essence of Spanish musical heritage and is brought to life with fervor and sensitivity by Stanley’s masterful playing.

The history behind the transcriptions from piano to guitar that Albéniz’s music underwent adds a layer of intrigue to this album’s exploration. While originally composed for the piano, many of Albéniz’s pieces, such as “Asturias (Leyenda),” “Granada,” and “Sevilla,” have been widely embraced on the guitar. Stanley’s performance on the piano serves as a beautiful reimagining of these well-known guitar transcriptions, allowing listeners to experience the music from a fresh perspective.

The Suite Española Op. 47 serves as the focal point of this recording, capturing the essence of Spain’s diverse regions. Albéniz’s mastery in painting sonic landscapes is reflected in the four complete titles of the suite: “Granada,” “Cataluña,” “Sevilla,” and “Cuba.” Stanley’s interpretation conveys not only the technical brilliance required for these pieces but also the emotional depth and cultural richness imbued in each movement. From the dreamy allure of “Granada” to the fiery passion of “Sevilla,” Stanley captures the essence of each locale with an impressive blend of virtuosity and sensitivity.

Stanley’s connection to the music is palpable, and his performance carries an innate understanding of the nuances of Albéniz’s compositions. The depth of his interpretations, particularly evident in “Asturias,” conveys the music’s expressive power with great authenticity. The pianist’s dynamic range is showcased effectively, bringing out the dramatic contrasts inherent in Albéniz’s works.

One can’t help but be struck by the vivid recording quality of this album. The challenge of capturing the percussive nature of the piano is met with excellence, resulting in a sound that is both immersive and resonant. Tracks like “Granada” and “Cataluña” offer a striking auditory presence that adds to the overall immersive experience of the recording.

While it’s been debated whether musicians of a specific origin are best suited to perform music from that same heritage, Stanley’s renditions dismiss any such concerns. His deep understanding of Albéniz’s inspirations and cultural influences is evident, regardless of his birth affiliation. Stanley’s affinity for the guitar’s role in shaping Albéniz’s composition style is particularly pronounced, lending an authentic quality to his interpretations.

Albéniz’s fusion of Spanish traditions and Moorish influences is brilliantly captured throughout the album. Stanley’s insightful performance highlights the oriental flair in “Asturias,” where the augmented seconds convey a distinct flamenco essence. The pianist’s dedication to rendering Albéniz’s heartfelt sentiments shines through in every note.

“Albéniz ” by Sebastian Stanley is an exquisite album that presents Albéniz’s music in a new light. Stanley’s profound understanding of the composer’s intentions, combined with his technical prowess and emotive interpretations, make for a captivating listening experience. This recording is a testament to the timeless allure of Albéniz’s works and the profound impact they continue to have on musicians and audiences alike.

Antonio Caldara (1670/1–1736), a prolific Italian composer, largely known for his operas and oratorios, has been given new life through the remarkable album “Arias for Bass.” Alexandre Baldo, a talented bass-baritone, along with the Ensemble Mozaïque, unveils a collection of previously overlooked treasures, shedding light on Caldara’s astonishing vocal compositions. The album not only showcases the exceptional virtuosity required by these works but also delves into the profound emotional depths Caldara embedded in his arias.

The album’s inception, stemming from Baldo’s discovery of forgotten manuscripts at the Österreichische Nationalbibliothek, adds an element of historical intrigue. Caldara’s two-decade stay in Vienna is vividly portrayed through the lens of Christoph Praun, a prominent bass singer of the Viennese Hofkapelle during that era. Baldo’s insight into Praun’s vocal qualities lends authenticity to his own interpretation of these arias, making the album not just a musical journey but also a glimpse into the past.

The recording opens with “Sù cedete al dio dell’armi” from “La contesa de’ numi” (1723), immediately highlighting the album’s central elements: Baldo’s impressive vocal range and the intricate coloratura passages that define Caldara’s compositions. The Ensemble Mozaïque, consisting of string quartet, harpsichord, and theorbo/baroque guitar, provides a vibrant and lively accompaniment, enhancing the performance’s overall dynamism.

Baldo’s voice is characterized by its youthful freshness, transitioning seamlessly from a high baritone to a resonant bass. This versatility proves essential in navigating the complexity of Caldara’s music, especially evident in the recitative “Così dunque tradisci” from “Il Temistocle” (1736). Baldo’s expressive prowess shines through, bringing out the emotional depth of the aria that follows. The album includes a selection from Caldara’s later opera, which adds historical context given its premiere shortly before the composer’s death.

Throughout the album, Caldara’s collaboration with librettists like Metastasio and Apostolo Zeno is evident. The aria “Vedea modesto molto” from “Mitridate” showcases Baldo’s ability to convey a myriad of emotions, aided by the warm tone and nuanced phrasing. A pinnacle moment arrives with “Quando il tenero tuo labbro” from “Gesù presentato nel tempio,” where Baldo’s rendition transcends mere singing, evoking deep, soul-stirring sentiments.

While Caldara’s genius is evident, it’s acknowledged that some arias exhibit formulaic traits. This is attributed to the composer’s heavy workload and potential exhaustion, hinting at a touch of repetition in his works. Nevertheless, the album’s significance lies in unearthing these forgotten gems and presenting them in meticulously crafted renditions.

In addition to the vocal pieces, the inclusion of two instrumental compositions provides a well-rounded view of Caldara’s creative output. The Ensemble Mozaïque’s skillful interpretation keeps the instrumental tracks engaging and meaningful.

In conclusion, “Arias for Bass” is a captivating journey into Antonio Caldara’s musical legacy, meticulously curated by Alexandre Baldo and the Ensemble Mozaïque. The album not only showcases Baldo’s vocal prowess but also brings to light the captivating beauty and virtuosity present in Caldara’s arias. This collection is a testament to the dedication of artists who strive to resurrect forgotten masterpieces and ensure they find their rightful place in the annals of classical music history.

Tõnu Kõrvits, the Estonian composer known for his evocative compositions, takes flight once again in his latest opus, “The Sound of Wings” (2022). This profound work, the third installment in a trilogy for chorus and string orchestra, explores the enigmatic and daring life of aviation pioneer Amelia Earhart. Kõrvits, alongside the Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, and conductor Risto Joost, delivers a captivating musical narrative that delves into themes of courage, life, death, and loss through the lens of Amelia Earhart’s extraordinary journey.

The album begins with the instrumental prelude “On the line…,” where the viola’s poignant melody acts as a recurring anchor throughout the composition. This introductory piece is reminiscent of the contemplative works of Vaughan Williams, setting a reflective mood that echoes the introspective nature of the subsequent movements. The nine-part structure unfolds with distinct sections, each exploring different facets of Earhart’s life and legacy.

“Running North and South…” follows, an instrumental interlude that bridges the narrative. The subsequent parts continue to unveil the story with titles like “The Touch of Your Hand,” “In the Currency of Courage,” and “Thus Speaks the Heart.” Kõrvits’s musical language beautifully captures the emotional layers of Earhart’s journey, ranging from intimate feelings to the price of courage and endeavor.

Part IV, “One Love,” is a standout moment, with alto Marianne Pärna’s solo voice seamlessly intertwining with the wordless chorus, creating a deeply moving aria that touches the heart. In “Lighthouse” (Part VI), the search for Howland Island’s guiding light is depicted through both the music and lyrics, conveying a sense of both anticipation and loneliness.

The celestial navigation of “The Star Stream” (Part VII) brings shimmering stars to life with a four-voice canon of soprano and alto soloists, a truly magical sonic moment. Part VIII, “Over Looking Glass Water,” delves into the element where Earhart and her navigator vanished, making it one of the most contemplative segments in the composition.

As the journey culminates in Part IX, Kõrvits masterfully weaves recurring motifs and phrases, including the titular “tiibade hääl” (the sound of wings), tying the work together thematically. The concluding moments build to an ecstatic climax, with the choir, orchestra, and solo soprano (Mariliis Tiiter) soaring to new heights while the meditative viola gently fades away.

Kõrvits’s skillful command of both instrumental and choral writing shines throughout “The Sound of Wings.” His ability to create a textured musical landscape, along with the interplay of recurring musical and verbal motifs, reinforces the composition’s structural integrity. The performance on this recording is impeccable, with Laur Eensalu’s viola playing a vital role, the Estonian Philharmonic Chamber Choir delivering outstanding vocals, and the Tallinn Chamber Orchestra providing unwavering support under the direction of Risto Joost.

The album’s concluding piece, “Pühapäevasoov – Sunday Wish,” offers a heartfelt encore, a short song originally composed for female voices and later arranged for soprano, female voices, and strings. Mariliis Tiiter’s soprano performance adds a final touch of emotional resonance, drawing the album to a poignant close.

In “The Sound of Wings,” Tõnu Kõrvits pays tribute to Amelia Earhart’s courageous spirit, creating a multi-dimensional sonic experience that traverses the skies of emotion and imagination. This album is a testament to Kõrvits’s prowess as a composer and orchestrator, as well as the exceptional talents of the performers involved. “The Sound of Wings” stands as a captivating musical journey that commemorates the life and legacy of a pioneering aviator through the power of sound and emotion.

Yeol Eum Son’s interpretation of Mozart’s Complete Piano Sonatas is a refined showcase of her technical prowess and innate artistry. Known for her intricate shading and diverse palette, as evidenced in her previous recordings, Son once again delivers a performance that displays her command over the keyboard and her sensitivity to the nuances of Mozart’s compositions.

From the outset, it’s clear that Son’s attention to detail and meticulous craftsmanship shape her renditions. In pieces like the F major K. 280 Allegro assai, she masterfully navigates through variations in sonority and embellishments, each note precisely articulated. The G major K. 283 Presto is imbued with a rhythmic liveliness, and the F major K. 332 Allegro assai is marked by cascading runs and a notably robust left-hand presence.

Even the seemingly straightforward “easy” pieces, such as the C major K. 545, are treated with reverence. Son’s consideration of balance between hands in the first movement’s second subject exemplifies her commitment to extracting the full depth of each composition.

Where Son truly shines is in her interpretation of slow movements. The harmonic sensitivity she brings to pieces like K. 279, K. 533/494, and K. 333 is striking, and her deft phrasing carries gracefully across barlines, creating an entrancing narrative quality.

However, not all moments of the collection receive the same level of engagement. Some finales come across as lackluster and somewhat square. Comparatively, Son’s readings of the C major K. 330 Allegretto and B-flat major K. 333 Allegretto grazioso lack the dynamic inflections found in other notable performances. Her approach contrasts with the vitality of pianists like Maria João Pires and the inventiveness seen in Roberto Prosseda and Robert Levin’s interpretations.

Son’s take on the iconic A major K. 331 Rondo alla Turca, while competent, lacks the grandeur and passion exhibited by Murray Perahia. Similarly, her calculated pauses in the D major K. 576 Allegro raise questions about their expressive intent.

It’s notable that Son opts to exclude the introductory C minor Fantasy K. 475 from the C minor K. 457 sonata, aligning with a recent trend seen in Mao Fujita’s Mozart cycle. This choice may divide listeners who appreciate the Fantasy’s emotional context within the sonata.

In a crowded field of Mozart interpretations, Yeol Eum Son’s cycle competes with well-established catalog recordings. While her performances may not eclipse the likes of other acclaimed pianists, her finest moments within this collection offer a glimpse of her musical finesse and the depth of her interpretation. Her meticulous approach, coupled with moments of emotional resonance, makes this a Mozart collection that invites both admiration and reflection.