Andrè Schuen and Daniel Heide’s rendition of Schubert’s Winterreise maintains the lyrical and sensitive qualities that have garnered praise for the duo in their previous cycles. Schuen’s emotive delivery and Heide’s accompaniment shine throughout the album. 

In Gute Nacht, Schuen’s sensitivity adds depth to the longer, multi-faceted song, particularly in the contrasting sections. His nuanced performance, alongside Heide’s gentle piano accompaniment, creates a compelling narrative. 

In Erstarrung, Schuen captures the suspense and urgency of the song with his subtle yet impactful delivery. While Heide’s accompaniment could benefit from more dynamism, Schuen’s interpretation shines through with vibrant crescendos and vocal shifts. 

Der Lindenbaum showcases Schuen’s ability to craft expressive lines, despite some murkiness in the piano’s filigrees. The duo navigates through both intense and contemplative moments, showcasing their musical versatility. 

The duo’s rendition of Die Poste emphasizes growing intensity, although some moments feel lacking in the expected urgency. However, they redeem themselves with a fine performance in Der Krähe, where a measured tempo and delicate piano work create an eerie yet lyrical atmosphere. 

Das Wirthaus stands out for its poignant exploration of loneliness, highlighting the narrator’s despair through peaceful yet melancholic music. Schuen and Heide effectively convey the emotional depth of the piece, combining resonant chords with heartfelt lyricism. 

In Der Leiermann, a subtle misstep in the piano accompaniment is overshadowed by Schuen’s solemn and weighty delivery, bringing a sense of finality to the traveler’s journey. Despite some flaws, Schuen and Heide’s Winterreise remains a compelling interpretation that reveals new layers of emotion with each listen. 

Francesca Dego, Timothy Ridout, Laura van der Heijden, and Federico Colli bring us a unique interpretation of Mozart’s Piano Quartets in their recent release, “Mozart: The Piano Quartets.” While these performances showcase undeniable skill and artistry, they may not be to everyone’s taste, as the quartet’s interpretative approach veers away from traditional expectations. 

The first quartet, K478, presents a formidable challenge due to its brooding and relentless character. Unfortunately, the quartet’s wider expressive range and slight hesitations, at times, dilute the necessary grim tension that should permeate the piece. Some listeners might find these elements counter-productive. The occasional decorations during repeated passages also distract from the severe atmosphere of the movement. Moreover, the quartet adopts a minimal vibrato approach, which may divide opinions. While it emphasizes plain speaking, it may come across as lacking the richness some listeners associate with Mozart’s music. 

Moving on to the central Andante, this is where the quartet’s approach becomes more contentious. Pianist Federico Colli’s introduction suggests a touch of self-consciousness and preciousness that might not sit well with all listeners. Similarly, the finale occasionally drifts into coyness, which is exacerbated by mini-hesitations that disrupt the piece’s flow. 

In highlighting these criticisms, it’s important to remember that there’s much to admire in the quartet’s execution. Their performance might resonate with those who appreciate a more modern, expressive interpretation of Mozart. However, for listeners who prefer a more traditional, straightforward approach, there are alternative recordings to explore, such as Dezső Ránki with Éder Quartet or Paul Lewis with Leopold String Trio. 

The second quartet, K493, fares somewhat better, but similar tendencies in ornamentation and rubato are evident. The quartet’s emphasis on beauty and elegance might contrast with what some consider the more robust character of Mozart’s quartets. The quartet occasionally misses the opportunity to infuse more energy into the music, particularly in the first movement. In the Larghetto, while the ornamentation is more effective, the touch of rubato remains unsettling. 

The quartet’s approach to Mozart is, in part, a matter of personal preference. Some listeners will appreciate Colli’s “highly imaginative and philosophical interpretations,” as described in the booklet notes, while others may long for a more instinctive and straightforward rendition of these beloved pieces. In the finale, the quartet’s interpretation leans toward introspection rather than exuberance, a choice that may not align with everyone’s expectations of Mozart. 

One of the highlights of this recording is the insightful booklet notes by Michael O’Loghlin, offering a fresh perspective on well-known works. Additionally, the Chandos recording quality deserves praise, providing a warm and natural sonic experience. 

In summary, “Mozart: The Piano Quartets” by Francesca Dego, Timothy Ridout, Laura van der Heijden, and Federico Colli offers a distinctive take on Mozart’s Piano Quartets. While some may find their approach appealing and refreshing, others may prefer more traditional interpretations. This recording is a testament to the variety of interpretations possible in classical music, making it an intriguing addition to Mozart enthusiasts’ collections. 

Diving into Vivaldi’s timeless masterpiece, “The Four Seasons,” Alfia Bakieva, accompanied by Les Musiciennes Du Concert Des Nations under the baton of Jordi Savall, embarks on a mesmerizing auditory expedition through the changing landscapes of nature. This double-disc opus not only celebrates the virtuosity of its performers but also pays homage to Vivaldi’s rich legacy of nurturing burgeoning talent, particularly among female musicians. 

The inaugural CD unfurls a tapestry of Vivaldi’s concertos intertwined with evocative sonnets, purportedly penned by the maestro himself. Actress Olivia Manescalchi’s narrations of these sonnets, albeit occasionally intertwining with the music, serve as ethereal signposts, guiding listeners through Vivaldi’s picturesque soundscapes. While some may find this fusion disruptive, it adds an intriguing layer of depth, akin to the intimate soirées enjoyed by Vivaldi’s discerning patrons. 

On the subsequent disc, listeners are enveloped in a pure auditory odyssey of “The Four Seasons.” Savall’s artistic direction steers the ensemble away from the ostentatious gloss often associated with period-instrument ensembles, instead embracing a raw, unadulterated sound that authentically echoes Vivaldi’s era. Bakieva’s nuanced portrayal as the soloist is a revelation, her performance imbued with a delicate yet profound understanding of Vivaldi’s musical ethos. 

Across both discs, the ensemble masterfully captures the essence of each season, from the jubilant twittering of birds in Spring to the scorching intensity of Summer’s sun. Their vivacious, dance-infused interpretations breathe new vitality into these beloved concertos, beckoning listeners to embark on a voyage of rediscovery. 

While this rendition may diverge from the dramatic fervor of other interpretations, it offers a compelling alternative that remains steadfastly loyal to Vivaldi’s artistic vision. For aficionados of Jordi Savall’s oeuvre and connoisseurs seeking a contemplative exploration of “The Four Seasons,” this magnum opus is an indispensable addition to the auditory library. 

Rossini’s “Elisabetta, regina d’Inghilterra,” conducted by Antonino Fogliani, captured live in a 2021 production at Rossini in Wildbad and recorded in Kraków, offers a mixed bag of musical triumphs and pitfalls. This opera marks a pivotal moment in Rossini’s career, as the young composer transitioned from revolutionizing opera buffa to bringing his innovative touch to opera seria. 

The narrative, drawn from Sophia Lee’s Gothic novel “The Recess,” revolves around the ill-fated marriage of Elizabeth’s favorite soldier, the Earl of Leicester, to a young Scotswoman, unraveling a web of political intrigue and rivalry. Rossini’s adaptation, which premiered in Naples in 1815, seamlessly blends classical order with Romantic elements, presenting a delicate balance that demands precise execution. 

The cast, led by Serena Farnocchia as Elisabetta, delivers commendable performances. While Farnocchia may not match the iconic presence of Montserrat Caballé from the 1975 Philips recording, she navigates the role with seasoned expertise. Congolese tenor Patrick Kabongo shines as Leicester, offering a portrayal that stands alongside renowned interpretations by José Carreras and Bruce Ford. 

However, the production’s downfall lies in Antonino Fogliani’s conducting, described as a ‘fast-moving production’ on the Naxos back-of-the-box blurb. While enthusiasm is appreciated, Fogliani’s haste drains the opera of its impact and charm. The relentless pacing seems determined to rush through every opportunity, resulting in a performance that lacks the necessary breath to fully appreciate the nuances of Rossini’s score. 

The Kraków Philharmonic, though none-too-subtle, offers a dynamic backdrop to the proceedings. Unfortunately, their presence is overshadowed by the hurried tempo, leaving the audience with tepid applause at the end of acts, almost bordering on impoliteness. 

Comparisons with the exemplary 1975 Philips recording, conducted by Gianfranco Masini and featuring Caballé, highlight the challenging balance that Rossini’s “Elisabetta” demands. While this 2021 production has its merits, particularly in the diverse and capable cast, it falls short of recreating the magic of its predecessor. Fogliani’s conducting, in its eagerness, sacrifices the richness and depth that Rossini’s masterful work deserves, resulting in a production that, despite its interest, struggles to leave a lasting impression. 

Solo violin repertoire leaves no room for error, laying bare every vulnerability. Yet, in her album “Prism,” Fenella Humphreys demonstrates masterful artistry, bringing a captivating and vibrant performance to lesser-known works. As she reflects, the album was born from a desire to continue performing music she encountered during the spring of 2020—a period marked by global lockdowns. 

Among the plethora of lockdown-inspired releases, “Prism” stands out for its creativity and engagement. Though these pieces might be seen as personal selections rather than crowd-pleasers, they possess a unique charm, with Jessie Montgomery’s Rhapsody No. 1 being a particular highlight that deserves broader recognition. Humphreys’s interpretation of this piece is rich and dynamic, capturing both its technical demands and emotional depth. 

Caroline Shaw’s In manus tuas, which draws loosely from a Tallis motet, is equally entrancing. Humphreys delivers a performance that is both atmospheric and visionary, perfectly capturing the ethereal nature of Shaw’s composition. The piece’s serene and powerful presence is a testament to Humphreys’s ability to convey complex emotions through her instrument. 

Bach’s D minor Toccata and Fugue BWV 565 has seen numerous transcriptions, yet Humphreys’s version stands out. It preserves more of Bach’s original essence than many other renditions, matching the weight and rhetorical grandeur of Bruce Fox-Lefriche’s widely performed arrangement. Humphreys brings a fresh and invigorating perspective to this well-known piece, combining precision with a sense of majesty. 

Humphreys also excels in her transcriptions of works by Satie and Debussy. Her performance of these pieces is idiomatic and pleasing, translating the essence of the original piano compositions to the violin with remarkable fidelity. In particular, her rendition of Satie’s Gymnopédies is delicate and expressive, maintaining their simplicity while infusing them with lyrical beauty unique to the violin. 

“Prism” is a highly accomplished release, performed with fearless vibrancy and captured with superb audio quality. The recording is excellent, showcasing the full range and subtlety of Humphreys’s playing. Each piece is presented with clarity and warmth, allowing listeners to appreciate the nuances of her interpretations fully. 

Even if this repertoire seems unfamiliar, “Prism” is undoubtedly worth exploring. Fenella Humphreys’s performance transcends any reservations, offering a compelling musical journey. The album not only highlights her technical prowess and artistic vision but also her deep connection with the music and her audience.

Yundi, renowned for his Chopin interpretations, ventures into Mozart’s world with “Mozart – The Sonata Project, Salzburg.” This album, part of his ongoing Sonata Project and tour, offers a fresh perspective on Mozart’s beloved sonatas. 

Yundi’s rendition of K. 331 showcases dignity and elegance, allowing each variation to unfold with grace. While some moments feel complacent, overall, he strikes a commendable balance between animated commentary and sensible voicing. The Menuetto, though clear and thoughtfully phrased, lacks the dynamic range found in other interpretations. 

In the Rondo, Yundi delivers energetic staccatos and rhythmic precision, yet falls slightly short of fully capturing its jubilant spirit. 

Moving to the minor-key works, Yundi’s performance of K. 310 lacks the urgency and drama demanded by the composition, despite his delicate phrasing. Similarly, in K. 457, while his fingering is precise, a weightier sound would better suit its symphonic character. 

Recorded at Salzburg’s Siftung Mozarteum, the album benefits from the hall’s open acoustics, lending Yundi’s playing an airy quality. 

While Yundi’s technical prowess shines throughout, his polished approach sometimes sacrifices the individuality of each sonata. Despite this, the recording offers a pleasing listening experience, though other interpretations may remain preferred choices for some. 

Yundi’s exploration of Mozart’s sonatas may not fully capture the essence of each piece, but his refined execution still warrants appreciation. As he continues his Sonata Project, listeners eagerly anticipate further explorations into the classical repertoire under his adept fingers. 

Véronique Gens’ latest album, “Paysage,” is a captivating journey through the rich tapestry of French vocal music, delicately woven with orchestral arrangements. Released by the esteemed Alpha label, this collection is not just a mere assortment of well-known tunes, but a thoughtful exploration of hidden treasures, thanks to a collaboration with Palazzetto Bru Zane. 

While the absence of familiar pieces like Berlioz’s “Les nuits d’été” or Ravel’s “Shéhérazade” might surprise some listeners, what “Paysage” offers instead is a refreshing dive into the lesser-known works of French composers. Gounod, Saint-Saëns, Chausson, Hahn, and Fauré are all represented here, alongside the often-overlooked Théodore Dubois, whose four songs, including the poignant “Chansons de Marjolie,” reveal a depth of emotion and artistry. 

Véronique Gens’ performance throughout the album is nothing short of spectacular. Her soprano voice, with its supple agility and elegant delivery, effortlessly navigates the intricacies of each song. Her impeccable diction and nuanced phrasing add layers of meaning and emotion to every lyric, drawing listeners into the heart of the music. 

Backing Gens is the Munich Radio Orchestra, conducted by Hervé Niquet, whose sensitive direction breathes life into the orchestral accompaniments. Together, they create a symbiotic relationship, where the lush orchestration enhances Gens’ vocal performance, and vice versa. 

While some may lament the absence of Massenet’s compositions, the album compensates with other gems like “Pastoral” from “Esclarmonde” and “Invocation” from “Les Érinnyes.” Niquet’s careful shaping of the orchestral pieces, such as Fauré’s “Nocturne” and Fernand de La Tombelle’s “Rêverie,” adds depth and texture to the overall listening experience. 

“Paysage” is not just an album; it’s a musical odyssey that invites listeners to explore the hidden corners of French vocal repertoire. With its exceptional performances, thoughtful selection of songs, and meticulous attention to detail, it’s a must-have for anyone with an appreciation for the beauty and elegance of French music.

Miloš Karadaglić, the renowned Montenegrin classical guitarist, has truly outdone himself with his latest album, ‘Baroque.’ It’s an exploration of the Baroque era that transcends mere virtuosity, inviting listeners to ponder the profound question, ‘Sonata, what do you want of me?’ Karadaglić listens intently for an answer and, in turn, communicates it to us with unparalleled clarity, elegance, and emotional depth. 

In ‘Baroque,’ you won’t find the typical fireworks often associated with virtuosic guitar performances. Instead, you’ll discover meticulous craftsmanship and an underlying passion. Take, for example, Michael Lewin’s arrangement of Rameau’s ‘The Arts and the Hours’ from Les Boréades, which harmoniously blends with the brilliance of pianist Víkingur Ólafsson’s works. Miloš’s own transcription of Bach’s Chaconne from the D minor Partita for solo violin is a testament to his extraordinary pacing and ability to convey profound pathos within Bach’s intricate masterpiece. Furthermore, the Adagio from Marcello’s D minor Oboe Concerto showcases Miloš’s remarkable skill in rendering a genuine cantabile line on the guitar—a challenging feat executed with finesse. 

Notably, Miloš collaborates with the exceptional Arcangelo ensemble, under the direction of Jonathan Cohen, in performances of Marcello, Vivaldi, and Boccherini. Period-instrument ensembles joining forces with pianists or classical guitarists can sometimes lead to discord, but here, the chemistry and shared sense of style and balance result in a harmonious musical partnership. It’s a match made in heaven that elevates the album’s overall quality. 

While ‘Baroque’ isn’t a quasi-philosophical chill album, it does prioritize delicacy and gradual unfoldings. The faster movements in the Vivaldi concertos and the fiery Boccherini Fandango still deliver the thrilling excitement one would expect from such pieces, with Miloš’s guitar mastery on full display. However, at its core, ‘Baroque’ is a tribute to tenderness and a heartfelt appreciation for the past. It’s a journey that allows listeners to immerse themselves in the exquisite subtleties and intricate beauty of Baroque music, expertly guided by Miloš Karadaglić’s remarkable talent. 

In ‘Baroque,’ Miloš has not only showcased his virtuosity but has also taken us on a profound musical voyage—a voyage where every note resonates with the grace and elegance of the Baroque era. It’s a testament to his artistry, his dedication to his craft, and his ability to touch the hearts of listeners with the rich tapestry of Baroque music. This album is a must-listen for anyone who appreciates the timeless beauty of classical guitar and the captivating allure of Baroque compositions. 

Andris Nelsons’ “Richard Strauss: Symphonic Works” is a release that both highlights the conductor’s strengths and exposes his limitations when it comes to the core repertoire of Richard Strauss. This ambitious project brings together the Boston Symphony Orchestra (BSO) and the Gewandhausorchester Leipzig, offering a diverse selection of Strauss’s orchestral music. 

One of Nelsons’ notable strengths is his sensitivity to instrumental colors, blends, and balances, which is evident in certain pieces such as the “Four Symphonic Interludes” from Intermezzo and the suites from Der Rosenkavalier and Die Frau ohne Schatten. These selections benefit from Nelsons’ skillful handling of rhythms and textures, resulting in performances with winning transparency. 

The inclusion of Yuja Wang, a brilliant pianist, in Strauss’s Burleske adds another layer of virtuosity to the recording. Wang’s performance is impressive, particularly in the meditative middle section. However, it falls short when compared to other recent interpretations, such as Bertrand Chamayou’s rendition with Antonio Pappano and the Santa Cecilia Orchestra. 

Nelsons’ interpretations of Strauss’s works often suffer when compared to past performances. The Leipzig Don Juan, while clear, lacks the required lustiness and rhythmic edge, making it less engaging. Don Quixote also suffers from a lack of overall cohesion and a self-absorbed quality, despite the admirable solo performances of Yo-Yo Ma and Steven Ansell. 

Other pieces, such as Boston Till Eulenspiegel and Also sprach Zarathustra, are good but not groundbreaking. The Leipzig Ein Heldenleben fares better, with exquisite solos by Gewandhausorchester concertmaster Frank-Michael Erben. However, it still falls short of some distinguished interpretations. 

Sinfonia domestica showcases the Boston Symphony Orchestra’s energy, but other recordings offer more vibrancy. Macbeth and Aus Italien receive intense readings from the Leipzig orchestra, while Leipzig Metamorphosen is solid but not exceptional. 

One of the low points of the recording is the Boston Eine Alpensinfonie, which frequently loses sight of the big picture and gets lost in its own excesses. Festliches Präludium, played by combined orchestral forces, is drawn out excessively and ultimately feels grotesque. 

“Richard Strauss: Symphonic Works” showcases Andris Nelsons’ strengths in handling instrumental colors and balances. However, it also reveals his inconsistency when tackling core repertoire. While some performances shine, others fall short when compared to past interpretations. Hopefully, Nelsons’ approach to Strauss’s music will mature and regain the depth and dramatic tension that seem to be lacking in this release. There’s more substance to Strauss and his music than what is captured here. 

In her latest recording, Beatrice Rana takes on the monumental task of interpreting Chopin’s B-flat minor Piano Sonata and Beethoven’s Hammerklavier Sonata. This intriguing combination showcases Rana’s musical evolution, from her early student days to her recent exploration of Beethoven’s solo works during the lockdown. 

Rana’s rendition of Chopin’s B-flat minor Sonata initially takes a lighter approach compared to some other renowned pianists. While her interpretation may lack the thunderous urgency found in certain performances, her attention to detail and musical nuances gradually reveal the depth of her interpretation. The scherzo movement, although lacking in overt humor, showcases Rana’s ability to bring out the elegance and lyrical beauty embedded within Chopin’s writing. 

The centerpiece of Chopin’s Sonata, the Funeral March, is approached with measured introspection by Rana, allowing for subtle artistic expression amidst the composition’s static phrases. In contrast to more bombastic interpretations, Rana’s rendition captures the essence of deep introspection, offering a refreshing perspective. 

Transitioning to Beethoven’s Hammerklavier Sonata, Rana navigates the intricate passages with finesse, avoiding the pitfalls of harshness and superficiality. While some may find her opening chords lacking in voicing compared to other recordings, Rana compensates with crisp staccatos and a keen sense of musical balance. The Adagio Sostenuto showcases Rana’s ability to create an intimate sound-space, although some listeners may prefer a more weighty interpretation. 

The final movement of the Hammerklavier Sonata highlights Rana’s dynamic shading and impeccable balance, building anticipation for the monumental fugue that follows. While her rendition may not be the most electrifying, Rana succeeds in highlighting the intricate details of the music, offering listeners a musically insightful experience. 

Overall, Beatrice Rana’s interpretation of these iconic piano sonatas is a nuanced exploration that reveals hidden depths within the music. While her performances may not be the most dramatic, they offer a thoughtful and introspective journey that will resonate with those seeking a deeper understanding of these timeless masterpieces.