Charles Koechlin’s orchestral music may have been overshadowed by his chamber works in the past, but this captivating album by the Sinfonieorchester Basel, under the direction of conductor Ariane Matiakh, proves that his orchestral pieces are hidden gems waiting to be discovered. Featuring two stunning compositions, “The Seven Stars” Symphony and “Vers la voûte étoilée,” this record brings to light Koechlin’s brilliance and offers a delightful listening experience.

At the heart of this collection lies “The Seven Stars” Symphony, an imaginative and evocative masterpiece that astoundingly weaves together celestial movie stars of the past. Contrary to its celestial name, the “stars” in question are the iconic movie legends: Douglas Fairbanks, Lilian Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, and the whimsical Charlie Chaplin. Each star receives a distinct and vivid characterization, capturing their essence and personalities through the music. The lively and perky “It Girl” portrayal of silent cinema’s charm or the icy and distant rendition of Greta Garbo both showcase Koechlin’s exceptional ability to depict individual personalities through his musical language. What’s even more intriguing is how Koechlin cleverly structures some of these variations based on the letters in the stars’ names, adding a creative layer to the symphony’s concept.

“The Seven Stars” Symphony resonates beautifully with any film event, making it an ideal companion for multimedia performances. Furthermore, its accessibility to a wide audience is a testament to Koechlin’s masterful composition style, which can be enjoyed by both seasoned classical enthusiasts and newcomers alike. The symphony’s emotional depth, coupled with its imaginative storytelling, ensures a captivating journey through the golden age of cinema.

The album concludes with the rich and mesmerizing tone poem, “Vers la voûte étoilée” (“Toward the Starry Vault”). This piece, akin to a celestial dreamscape, exhibits Koechlin’s affinity for impressionistic colors and textures. It bears a kinship to the works of Debussy, allowing for a seamless pairing in a concert program. Through the skillful interpretation of the Sinfonieorchester Basel, the performance is precise and subtly radiant, immersing listeners in the wondrous cosmic journey painted by Koechlin’s musical brush.

Special mention should be made of the Capriccio label’s exceptional sound engineering, which beautifully captures the orchestra’s artistry within the resonant walls of the Basel Stadtcasino. It comes as no surprise that this album has climbed the classical best-seller charts, as it unveils Koechlin’s genius and provides a truly enriching and delightful listening experience for all classical music enthusiasts. A major find indeed, and a must-have addition to any music collection.

In this outstanding album featuring Liszt’s Piano Concertos Nos. 1 & 2, as well as the Piano Sonata, Alexander Ullman, accompanied by Andrew Litton and the BBC Symphony Orchestra, delivers a performance that stands out for its remarkable musicality and finesse. Unlike some interpretations that veer towards bombastic tendencies, Ullman’s approach showcases an exquisite sense of characterisation, making this album a true gem in the realm of Liszt’s piano works.

From the outset, Ullman’s pianism in Concerto No. 1 captures the essence of this fantastical and glittering creation. His delicate touch and nuanced phrasing give life to the solo triangle, allowing it to shine with subtlety, blending harmoniously with the orchestra. As the album progresses to Concerto No. 2, Ullman masterfully handles the high-stepping and flamboyant moments, infusing them with just the right amount of swagger while maintaining an underlying elegance and poise that ensure the work retains its essential musical integrity.

Ullman’s control over the piano is simply magnificent throughout the album. His clarity of touch and finesse in handling the delicately rhetorical fioritura is awe-inspiring, and his ability to control dynamics within a trill or a run, as demonstrated in the conclusion of the First Concerto’s first movement, is nothing short of exceptional. At times, it almost seems as if he can create the illusion of a sustained note, displaying a level of technical prowess that is truly remarkable.

The B minor Sonata receives an equally impressive performance, though it may lack the same edge of originality present in the concerto interpretations. Nevertheless, Ullman’s command of the piece is admirable, leaving a lasting impression on listeners with his expressive and emotive rendition.

The orchestral accompaniment by the BBC Symphony Orchestra under the direction of Andrew Litton is solid and supportive. The ensemble delivers strong performances, allowing Ullman’s piano to take center stage and shine. Special mention goes to cellist Susan Monks and leader Stephen Bryant for their commendable solos that add depth and beauty to the overall sound.

Recorded sound quality is generally excellent, capturing the nuances and subtleties of Ullman’s piano playing. While the piano might appear slightly forward in the mix during the concertos, this only serves to accentuate the splendid details of the soloist’s performance, allowing every intricate element to receive its well-deserved spotlight.

This is a truly captivating album that brings out the best in Liszt’s challenging works. Ullman’s remarkable pianism, characterized by a fine sense of characterisation and unparalleled technical prowess, ensures that these sometimes problematic pieces are presented with elegance and brilliance. This recording is a must-listen for classical music enthusiasts, as it exemplifies the art of exquisite pianism and masterful orchestral collaboration.

Samuel Mariño’s Sopranista, accompanied by La Cetra Barockorchester under the direction of Andrea Marcon, presented a unique and intriguing exploration of the higher vocal range in classical music. Like a rare gem, Mariño’s soprano voice shines with light, brightness, and grace, offering a distinctive auditory experience that captures the listener’s attention. The album, released under the Decca label, unveils a collection of arias from various operas, some of which have been relatively unexplored, making this musical journey a fascinating one.

Mariño’s vocalism is characterized by its delicacy and expressiveness, creating an enchanting sonic landscape. His ability to convey emotion through his singing is evident, although at times, a touch more clarity in diction would have heightened the dramatic impact further. Nevertheless, his performances are consistently captivating, drawing the audience into the intricate emotions and narratives of each piece.

A standout feature of Sopranista is the inclusion of arias from lesser-known operas. Two arias from Joseph Bologne, Chevalier de Saint-Georges’ L’amant anonyme (1780), are presented for the first time on disc. The overture and arias from this opera offer a glimpse into Saint-Georges’ unique artistry and musical expression. Additionally, an aria from Domenico Cimarosa’s Oreste (1783) adds further depth and variety to the repertoire. The inclusion of these rare gems highlights Mariño’s commitment to unearthing hidden treasures from the classical canon.

One of the album’s highlights is Gluck’s “Che farò senza Euridice?” performed in the composer’s own soprano edition from 1769. The performers take a brisk tempo, infusing the aria with a sense of urgency and fervor. The decision to present Cherubino’s aria “Voi che sapete” from Mozart’s Marriage of Figaro in the male soprano range is both daring and successful. Mariño navigates this well-known piece with finesse, adding a fresh perspective to a beloved composition.

Mariño’s vocal range and dynamics are showcased throughout the album. His voice, often ethereal and delicate, is particularly captivating in the higher registers. The Oreste aria, in particular, allows Mariño to showcase his virtuosity and command of the soprano range. However, some moments in the L’amant anonyme arias could benefit from a touch more vocal presence.

Andrea Marcon’s direction of La Cetra Barockorchester complements Mariño’s performances admirably, creating a harmonious interplay between voice and orchestra. The ensemble’s period-instrument approach adds authenticity to the overall sound, transporting listeners to the era in which these works were composed.

Sopranista by Samuel Mariño is a noteworthy addition to the world of classical vocal recordings. Mariño’s soprano voice, with its distinct brightness and grace, offers a fresh perspective on familiar and lesser-known arias alike. The inclusion of rare repertoire, coupled with Mariño’s expressive delivery, ensures a captivating listening experience. While there may be areas for refinement, the album remains a testament to Mariño’s unique artistry and dedication to bringing hidden treasures to the forefront of the classical music landscape.

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.

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.