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. 

Jeanine Jansen’s new album featuring Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No. 1, with Klaus Mäkelä conducting the Oslo Philharmonic, marks a significant return to the concerto repertoire after nearly a decade. The synergy between Jansen and Mäkelä, coupled with the nuanced performance of the Oslo Philharmonic, creates an album that resonates with both technical brilliance and emotional depth. 

The Sibelius concerto opens with an ethereal whisper from the Oslo strings, setting the stage for Jansen’s delicate yet poignant entrance. Her playing quickly intensifies, inspiring the orchestra to deliver a lush and resonant statement of the main theme. Jansen’s mastery is particularly evident in the “veloce” section, where her technical skills and passionate interpretation merge flawlessly. 

The cadenza is executed with remarkable precision, while the woodwinds’ Nordic timbre adds a distinct flavor to the first movement. The second movement begins with a hauntingly ambiguous atmosphere established by the clarinets and oboes, which Jansen then transforms with her lyrical and ardent solo line. The dialogue between the soloist and orchestra throughout this movement is intimate and profoundly moving. 

The Adagio exudes an elegant and introspective mood that is deeply affecting. Although the Oslo Philharmonic may lack the robust sound of more renowned orchestras, their attentive and responsive playing more than compensates, especially in their support of Jansen’s nuanced performance. The final movement, often likened to a polonaise for polar bears, is performed with grace and vigor, highlighting the intricate rhythmic interplay and the dynamic contrasts between fiery intensity and icy precision. Jansen’s technical prowess and the orchestra’s spirited playing culminate in a powerful and exhilarating conclusion. 

Turning to Prokofiev’s first violin concerto, Jansen’s interpretation surpasses other notable recordings, such as Hilary Hahn’s technically impeccable but emotionally reserved rendition, and Tianwa Yang’s more passionate performance. Jansen’s ability to navigate the concerto’s shifting moods and dynamic contrasts is consistently impressive, with Mäkelä and the Oslo Philharmonic providing exceptional support. The first movement, with its array of ideas and moods, is captured with vivid clarity, emphasizing the dreamy, fairy-tale quality that connects it to Prokofiev’s Cinderella ballet. 

The “Scherzo” movement, however, falls short of its full potential. The marching passages lack the necessary menace and drive, and while Jansen captures the music’s frenzied desperation, Mäkelä’s focus on balance and subtle coloring seems misaligned with the movement’s inherent brashness. Nonetheless, Prokofiev’s biting wit shines through in other sections. 

The final movement restores the album’s earlier excellence, returning to the fairy-tale ambiance of the opening movement. Here, the violin often takes on a secondary role, engaging in a conversational interplay with the orchestra rather than dominating it. This suits Jansen’s interpretative style, which emphasizes collaboration and mutual expression. The harmonic shift into the coda is executed with a magical touch, ending the performance on a serene and dreamlike note. 

Andrew Mellor’s liner notes are informative and engaging, complemented by session photographs that add a personal dimension to the album. Fans of Jansen will find her playing as captivating and technically impeccable as ever. While Decca’s claim of this being the ‘ultimate classical dream team’ might be an overstatement, this recording undoubtedly showcases a highly impressive collaboration, leaving listeners eager for future projects from this remarkable partnership. 

Isabelle Faust’s latest release, “Solo,” showcases her exceptional artistry on the violin, offering a captivating exploration of Baroque works by a diverse range of composers. Published by Harmonia Mundi, this album is a delightful follow-up to Faust’s memorable recording of Bach’s solo violin works. 

The journey begins with the music of Nicola Matteis, both father and son, Italian virtuosos whose influence reached the shores of England. Faust’s interpretation of Matteis Senior’s Ayres exudes a sense of improvisatory freedom, highlighting the lyrical and virtuosic nature of the pieces. Matteis Junior’s Fantasia, a virtuosic composition, takes flight under Faust’s bow, her reading marked by breathtaking lightness in navigating its impulsive arpeggios. 

A notable inclusion is Pisendel’s A minor Sonata, a tour de force that may have left its mark on Bach. Faust’s performance is poised and effortless, navigating the work’s technical challenges with grace. Her use of minimal vibrato results in a clean, silvery sound that enhances the overall clarity of the piece. 

The album introduces lesser-known composers like the Frenchman Louis-Gabriel Guillemain and the Austrian Johann Joseph Vilsmayr. Faust’s interpretation of Guillemain’s Amusements reflects a courtly French idiom with grace and refinement. In contrast, her rendition of Vilsmayr’s G minor Partita showcases balletic agility, demonstrating Faust’s versatility. 

Closing the program is Heinrich Biber’s famous ‘Guardian Angel’ Passacaglia from the Rosary Sonatas. Faust’s performance of this monumental piece is eloquent, revealing a remarkable range of colors and sonorities drawn from her 1658 violin by Jacobus Stainer. 

Isabelle Faust’s “Solo” is a testament to her exceptional musicianship and ability to connect the works of various Baroque composers. With a keen sense of style, technical prowess, and a nuanced understanding of each piece’s character, Faust has crafted an album that is both intellectually stimulating and emotionally resonant. This recording adds another gem to Faust’s discography, solidifying her reputation as a leading interpreter of Baroque music on the violin. 

Behzod Abduraimov’s latest solo release, “Shadows of My Ancestors,” takes listeners on a journey through a diverse selection of pieces, showcasing the pianist’s growth and exploration of personal connections, as evidenced by the inclusion of compatriot Dilorom Saidaminova’s composition, “Walls of Ancient Bukhara.” 

The album unfolds with a three-year gap since Abduraimov’s last solo release, prompting curiosity about the pianist’s artistic evolution. The inclusion of Ravel’s Gaspard de la Nuit, particularly the tracks 19-21, serves as a barometer for assessing his development. In “Ondine,” Abduraimov’s interpretation introduces a sense of coyness and charm, although the melody doesn’t always stand out against the shimmering accompaniment. While the shadings of pianissimos are commendable, the pacing appears brusque and metronomic, leaving the listener questioning the rush in this mermaid’s narrative. Additionally, the architecture of phrases and buildup lacks variety, diminishing the impact of the sinister, undulating presence central to the composition. 

A successful rendition of “Le Gibet” should disturb the listener with its macabre essence, yet Abduraimov falls short of achieving this effect. The pianist’s B-flat ostinato fails to evoke the doomful tolling of the bell described in Aloyius Bertrand’s poem. The pursuit of melodic continuity sacrifices imagination, leaving the melody longing for gravitas and the dissonant cascades lacking an unnerving chill that artists like Martha Argerich masterfully convey in their interpretations. In “Scarbo,” Abduraimov’s technical prowess shines through, but the execution leans towards a jumpy and cute demeanor rather than capturing the capricious and menacing essence required for this challenging piece. 

While “Shadows of My Ancestors” exhibits moments of brilliance and technical skill, it falls short in conveying the depth and emotional intensity needed for some of the more intricate compositions. Abduraimov’s playing, while proficient, occasionally lacks the nuanced interpretation and atmospheric immersion that could elevate the listener’s experience. The album is not without its merits, but listeners seeking a more profound exploration of the featured works may find themselves wanting more from this offering. 

“Bach & l’Italie” is a captivating exploration of Johann Sebastian Bach’s musical affinity with his Italian contemporaries, brought to life by the extraordinary talent of French-American harpsichordist Justin Taylor. This thoughtfully curated program delves into Bach’s connection with Italian composers, prominently featuring his famous Concerto ‘in the Italian style’ and reworkings of concertos by Vivaldi and Alessandro Marcello. 

The album opens with Alessandro Scarlatti’s Toccata, seamlessly transitioning into Bach’s Chromatic Fantasia and Fugue, BWV 903, where the Italian extemporaneous style infuses the work with dizzying virtuosity. Justin Taylor’s youthful vitality and flair shine throughout the recording, perfectly matching Bach’s ever-changing idiom. His quicksilver playing adds a touch of mercurial brilliance to the E minor Toccata, BWV 914, as it crescendos into an explosive climax of violin-inspired bariolages and arpeggiated chords. 

Taylor’s interpretation of the ‘Organ’ Concerto, BWV 596, and its virtuosic companion piece, BWV 594, based on Vivaldi’s originals, is nothing short of exceptional. The weightless energy in his playing is a hallmark of this recording. In BWV 974’s opening movement, he captures the light bounce of the ‘spiccato’ bowing technique from the original, while the C minor Prelude, BWV 921, is delivered with the wild, bebop-inspired rhythms that evoke a sense of fervor and excitement. 

What truly sets this album apart is Justin Taylor’s ability to extract a remarkable array of colors and quasi-orchestral timbres from the noble 1730 harpsichord housed in the Château of Assas, France. The instrument serves as a perfect canvas for his expressive interpretations, enriching the listening experience with its unique character. 

“Bach & l’Italie” is a testament to the enduring influence of Italian Baroque music on Johann Sebastian Bach’s compositions. Justin Taylor’s virtuosic performances and deep understanding of the music’s nuances make this album a delightful and enlightening journey through the musical connections between Bach and his Italian contemporaries. Whether you are a seasoned aficionado or a newcomer to Baroque music, this recording is a treasure that is sure to captivate and enthrall. 

Anna Lapwood, the Cambridge choral don and internet sensation, is a force to be reckoned with in the world of organ music. With her debut solo album, “Luna,” released under the prestigious Sony Classics label, Lapwood takes the listener on a captivating journey that transcends the conventional boundaries of organ music. In this album, she brilliantly combines classical masterpieces with contemporary compositions, offering a fresh perspective on an instrument often associated with weddings and funerals. 

The album’s diverse tracklist is a testament to Lapwood’s commitment to pushing the boundaries of organ music. She seamlessly combines classical repertoire with contemporary compositions and film music transcriptions, creating a compelling and innovative musical experience. One notable aspect of her track selection is the deliberate inclusion of pieces originally written for instruments other than the organ, such as Chopin’s E flat Nocturne, Op. 9 No. 2, which adds a unique dimension to the album. 

The opening track, “Flying,” from the 2003 live-action film adaptation of Peter Pan, sets the tone for the album, establishing a sense of wonder and enchantment. The inclusion of pieces like Ludovico Einaudi’s “Experience” serves as a nod to Lapwood’s TikTok community, demonstrating her ability to engage with a modern audience while maintaining the integrity of the organ’s distinct sound. 

Two standout tracks on “Luna” feature the collaboration of Anna Lapwood with the Choir of Pembroke College, Cambridge, of which she is the director of music. “Stars” by Ēriks Ešenvalds and Max Richter’s “On the Nature of Daylight” beautifully demonstrate the harmonious relationship between the organ and choir, creating ethereal and transcendent moments on the album. 

The album’s title, “Luna,” is fitting, as it perfectly encapsulates the celestial, otherworldly qualities of the organ. Lapwood’s choice to explore the softer, delicate, and less frequently heard colors of the Royal Hospital School’s organ is a refreshing departure from the usual high-impact organ music. Her expertly crafted performance showcases a deep understanding of the instrument, with attention to phrasing, articulation, and voicing. 

Anna Lapwood’s “Luna” marks a significant moment in her career as a solo artist. Her ability to seamlessly blend traditional and contemporary music, along with her dedication to expanding the organ’s repertoire, makes her a true ambassador for classical music. Importantly, she does all of this without compromising the depth and complexity of the organ’s sound. Her contribution to the organ and the music industry at large is truly invaluable. 

Carlos Simon’s album “Together” is a musical journey that transcends boundaries, celebrates diversity, and explores the multifaceted layers of his personality and upbringing. Released on Decca Classics, this 10-track masterpiece is a powerful example of the impact of collaboration and musical expression. 

The album features an impressive lineup of talent, including violinist Randall Goosby, mezzo J’Nai Bridges, baritone Will Liverman, and cellist Seth Parker Woods. The Carlos Simon Collective, a group of Chicago freelance artists under the direction of composer and violinist Jessie Montgomery, also contributes to the album’s richness. 

“Together” opens with an emotional depth that immediately engages the listener. Carlos Simon’s ability to blend classical textures with contemporary aesthetics, jazz, hip-hop, and gospel influences is on full display. The album’s diversity mirrors Simon’s own background and musical understanding, creating a tapestry of sound that resonates with authenticity. 

One of the standout tracks on the album is “Near the Cross,” featuring J’Nai Bridges. Based on an 1869 hymn by Fanny Crosby, this piece holds a special place in Simon’s heart. It reflects his upbringing and the Sundays spent performing it on piano at his father’s church in Atlanta. Bridges’ mezzo-soprano vocals add a hauntingly beautiful quality to the track, making it an emotional centerpiece of the album. 

“Love Is Stronger Than Pride” is another highlight, where Simon reimagines Sade’s ballad into a mesmerizing piano-only composition. It showcases Simon’s talent for taking familiar songs and transforming them into something entirely new and enthralling. 

Simon’s original composition, “Between Worlds,” delves into the life of Bill Traylor, born a slave in 1853 and later becoming a renowned American artist. The track beautifully captures the duality of Traylor’s experience, merging rural and urban, black and white, old and new in a musical narrative. 

Throughout “Together,” spirituality is a recurring theme, with hymns like “Amazing Grace” and “Angels In Heaven” offering moments of reflection and transformation. “Traveling Song” pays homage to Simon’s late grandmother, tackling the emotional journey of Alzheimer’s disease. This track is particularly poignant, featuring a new arrangement of one of her favorite hymns. 

Carlos Simon masterfully weaves together original compositions, improvisations, and arrangements, creating a cohesive and harmonious musical experience. The collaboration with a talented ensemble of musicians and vocalists adds depth and richness to each track. 

Beyond the music itself, Simon’s commitment to social justice and storytelling shines through in his compositions. His work explores themes such as migration, belonging, and community, shedding light on the historical and contemporary struggles faced by people of African ancestry. “Together” is not just an album; it’s a powerful statement, a celebration of unity, and a reminder of the transformative power of music. 

 “Together” by Carlos Simon is a moving and profound musical journey that invites listeners to explore the many facets of the human experience. With its heartfelt compositions, exceptional performances, and profound themes, this album is a must-listen for anyone seeking music that inspires, uplifts, and challenges the soul. Carlos Simon has once again proven himself as a dynamic and visionary composer, leaving an indelible mark on the world of classical and contemporary music. 

Mahler’s First Symphony, often regarded as one of the most evocative and colorful symphonic debuts in history, receives a captivating interpretation in this recording by Semyon Bychkov and the Czech Philharmonic Orchestra. Mahler’s aspiration to make a symphony “like the world, encompassing everything” is brilliantly captured in this performance, where the orchestra delves deep into the composer’s intricate and multifaceted soundscapes. 

From the very beginning, it’s evident that Semyon Bychkov and the Czech Philharmonic Orchestra are on a mission to explore every nook and cranny of Mahler’s musical landscape. The First Symphony is a testament to Mahler’s ability to incorporate a wide array of influences, from animal sounds to hunting horns, rural dances, klezmer bands, and even folk melodies like Frère Jacques. Bychkov and the orchestra approach these diverse elements with great sensitivity, weaving them together into a highly subjective and immersive symphonic drama. 

The historical connection between the Czech Philharmonic Orchestra and Mahler’s music is palpable in this recording. Their association dates back to the world premiere of Mahler’s Seventh Symphony in 1908, and Bychkov acknowledges the orchestra’s unique sensibility and sound, perfectly suited to Mahler’s compositions. This sense of a shared history and musical understanding between conductor and orchestra adds depth to the performance. 

Bychkov, who has been the chief conductor of the Czech Philharmonic since 2018, demonstrates his profound admiration for Mahler’s work. He approaches the First Symphony with a sense of reverence, describing it as a precious object he hesitated to touch for fear of breaking. However, this hesitation is nowhere to be found in the recording; instead, we hear a conductor fully immersed in the music, guiding the orchestra with precision and passion. 

Recorded in 2020 at Prague’s Rudolfinum, the sonic clarity and balance achieved by Pentatone’s engineers are nothing short of miraculous. Every instrument and nuance of Mahler’s score is captured in exquisite detail, allowing listeners to fully appreciate the complexity of the music.

This recording is part of the ongoing Mahler cycle by Semyon Bychkov and the Czech Philharmonic, following outstanding releases of Mahler’s Fourth, Fifth, and Second Symphonies. The orchestra’s reputation as one of the world’s finest interpreters of Mahler’s music is further solidified with this release. 

What truly sets this recording apart are the clever rubato and the rich, velvety timbres, especially noticeable in the brass section during the third movement. The trumpets, in particular, shine with their delicate vibrato, adding an extra layer of expressiveness to the performance. 

In conclusion, Semyon Bychkov and the Czech Philharmonic Orchestra’s rendition of Mahler’s First Symphony is a remarkable achievement. It not only pays homage to the composer’s vision but also reinforces the orchestra’s status as a leading Mahler ensemble. This recording is a must-listen for both seasoned Mahler enthusiasts and those new to his expansive and emotionally charged symphonic world. 

Alessandro Fisher’s debut album on Rubicon, “A Gardener’s World: Flowers in Song,” is a delightful and poignant exploration of nature’s beauty, expressed through a carefully curated selection of songs. Inspired by his own garden, Fisher’s recital, originally performed at Wigmore Hall in 2021, captures the essence of hope and renewal that bloomed during the lockdown. 

The opening track, Schubert’s ‘Die Blumensprache,’ sets the tone for the entire recital with Fisher’s warm-hearted embrace of the lyrics. Richard Capell’s words from nearly a century ago perfectly describe Fisher’s approach, as he skillfully suggests ardor beneath the playful surface. The collaboration with pianist Anna Tilbrook is seamless, with poised decorations and acutely judged modulations. 

Mendelssohn’s ‘Das erste Veilchen’ showcases Fisher’s innate insight into familiar lyrics, taking poignant pauses and switching keys to convey the disappearing spring and the death of the violet. Clara’s ‘Das Veilchen’ provides a happy pairing, avoiding sentimentality and showcasing Fisher’s sharp narrative and subtle coloring. 

The pièce de résistance of the recital is Sibelius’s Op 88 songs. Fisher’s interpretation is nothing short of rare insight, from the spine-tingling high notes in ‘The Thorn’ to the heartbreak in ‘The Flower’s Fate’ and the trilling of the lark in ‘Blue Anemone.’ The omission of piano markings in ‘The Wood Anemone’ becomes forgivable in the face of such compelling performance. 

The second half of the album explores lighter fare with two colorful ballads by Carlos Guastavino and songs by the Catalan Eduard Toldrà. Fisher’s storytelling remains impeccable, and his open and welcoming voice brings these pieces vividly to life. 

Exploring chansons, Fisher excels in Fauré’s infectious ‘Le papillon et la fleur,’ Chausson’s ‘Les papillons,’ and Poulenc’s gravely beautiful ‘Fleurs.’ His rendition of Poulenc’s song, part of a cycle translated as ‘Bethrothal for fun,’ resonates with calm serenity and voluptuous tone. 

The album concludes with English songs, ranging from Elgar’s teenage ditty ‘The Language of Flowers’ to Muriel Herbert’s odes to violets and daffodils. Fisher’s interpretation of Haydn Wood’s ‘Love’s Garden of Roses’ is a showstopper, paying homage to John McCormack’s pioneering recording. The encore, Swann and Flanders’ ‘Misalliance,’ is rendered gently and intimately, providing a perfect conclusion to this exceptional recital. 

Alessandro Fisher’s album is nothing short of auspicious. His masterful interpretation of a diverse selection of songs, coupled with his emotive storytelling and impeccable vocal technique, makes “A Gardener’s World: Flowers in Song” a standout and memorable recital album. Not since the legendary collaboration between Martin Isepp and Janet Baker has a British singer made such a remarkable debut on record. Fisher’s star is undoubtedly on the rise, and this album solidifies his place as a notable voice in the classical music landscape.