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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This solo recital by Christiane Karg is the German soprano’s first for the label. Together with Malcolm Martineau, her selection includes the five Rückert Lieder, but it mainly focuses on early songs, with selections from Des Knaben Wunderhorn and the Lieder und Gesänge aus der Jugendzeit. Karg’s clear, bright soprano shows her precisely delicate singing skills in every song included in the program.   

The exciting surprise comes with the two final Lieder, including “Das himmlische Leben” – which concludes the 4th symphony: They are “accompanied” by the composer himself on the piano, recorded on a roller and restored by the Welte-Mignon process. 

Even if the singer is better suited to the more pictorial Wunderhorn settings than to some of the more inward-looking Rückert songs, her worldwide recognized talent and her professionally accurate technique are once again very noticeable in this recording.  

However, the singer’s interpretation didn’t convince part of the critics. Some listeners also think that the selection of songs was not the most adequate for her. Because the music itself, the prosody, the poetry of Mahlerian melodies require a deeper timbre, a consistency, an alternation of shadows and lights, which is lacking here in most Lieder. Malcolm Martineau’s diligent piano doesn’t help much in this aspect and his extreme meticulousness sometimes turns counterproductive. 

Everything looks nicely done. But the voice, is light, too soft to move the listener to deeper emotions. 

One can’t help comparing Karg’s interpretation with the distinctive voices of Schwarzkopf, Ludwig, Fassbaender, Janet Baker or Ferrier among many others who had previously attacked a similar repertoire.  “Ich bin der Welt abhanden gekommen”, this moving confession – “I have withdrawn from the world” – which whispered by Kathleen Ferrier or Janet Baker, leaves you speechless, almost loses its power when pronounced by the German soprano.  

Comparisons seem inevitable again In the Knaben Wunderhorn, this collection of popular songs, in which once again Karg doesn’t reach the standards of Anne-Sofie von Otter or the sublime Dietrich Fischer-Dieskau in “Wo die schönen Trompeten blasen”. 

Nobody doubts that Christiane Karg is a brilliant soprano, and recognized Mozartian, applauded for her virtuosity and the great command of her delicate voice. The unfortunate selection of a recital all Mahler to the detriment of more varied melodies, and the inadequacy of the songs for the interpreter’s qualities, prevents this CD from being at the top list of my recommendations. 

Georgian-born pianist Khatia Buniatishvili has just released Labyrinth, her latest album, under Sony Classical label. In the words of the same interpreter, this work is a love letter conceived for her listeners, a highly personal album. With this album – “the most personal of all,” she says – Khatia Buniatishvili interweaves genres and centuries.   

Recorded at the Grande Salle Pierre Boulez at the Philharmonie de Paris, the album is very unique and particular drawing on the evocative language of composers from Scarlatti to Morricone and from Bach to Glass. The labyrinth, says the Franco-Georgian pianist, is: “our destiny and our creation; our impasse and our liberation; the polyphony of life, of the senses, of awakened dreams and of the neglected present; unexpected turns and expectations of the said or the unspoken … The labyrinth of our mind.” 

Khatia Buniatishvili is a unique artist in the classical music world, a pianist with an almost incomparable performing elegance and a movie director’s ear for attention and narration. And her new recording is a concept album as uncomon, moving and profund as the pianist herself. Labyrinth explores human lifeboundless quest. Through the eyes of a  wise woman, it sets a cinematic ride over hesitation, nostalgia, sensuality, pleasure, and pain. 

Showing  a relentless attitude,  Khatia  draw on her extraordinary piano playing in a very particular journey through the entire repertoire that she has performed up to the date. The album contains film music by Ennio Morricone (Debora´s theme from “Once Upon a Time in America”), Philip Glass (from “The Hours”)  piano pictures by Erik Satie and Serge Gainsbourg and a Latin American dance by Heitor Villa-Lobos Estonian prayer by Arvo Pärt. Amonng many other pieces some of them were arranged by Khatia Buniatishvili herself such as Bach’s “Badinerie” for piano four hands and “Sicilienne” BWV 596 based on Vivaldi’s D minor concerto RV 565.  

Because so-called classical music, “it is that which has crossed the ages and continues to moves us with its universality”, sums up the Franco-Georgian pianist, keeping it simple. The program, which ranges from baroque to film music, is very puzzling but it is also an interesting invitation to break the codes. Which suits her pretty well. Because Khatia Buniatishvili does not please everyone. She knows it and assumes it. 

When listening, you find yourself inmerse in another dimension, in a magical mix, a labyrinth of music full of new unexpected twists. It is without a doubt a unique and personal CD, which might not be well accepted  and loved by everybody. 

The best thing about Khatia is that her sound, as she did in Motherland, gives unity to the whole concept, knowing that from the first to the last note, the artist has put her stamp on each interpretation.

As many artists in 2020, Leonidas Kavakos joined Beethoven’s 250 years celebrations with this CD as a tribute to the composer. Starting with the “Violin Concerto”, it includes works clearly marked by romantic and ancient traditions. Kavakos himself, as he usually does during concerts, also takes the baton. The minor pieces of the recording are also very interesting and shouldn’t be disregarded. 

Throughout his long career, the distinguished Greek violinist has astonished us on many occasions, both in concerts with orchestra and in chamber recitals. 

Indeed, Kavakos’ noble phrasing in his outstanding interpretation of the Violin Concerto, is prominent. We can clearly appreciate his embellishing sound and his scrupulous respect for Beethoven’s score, especially during the particularly attractive and exceptional performance of the Cadenza of the first movement. There is a beautiful dialogue between the violin and the timpani (alla marcia, written by Beethoven) and an amazing artistry, full of double strings and delightful ornaments, but without losing the rigor with the soul of the work. 

The second movement, Larghetto, is very elegant and highly eloquent, performed and conducted by Kavakos with great intimacy, and the transition to the final Rondo is also very creative but faithful to Beethoven at the same time. 

The Greek’s remarkable musical ability in both the conducing and solo roles in this movement is clearly visible in the phenomenal final Rondo. It is fresh, bright, strong and superbly played and conducted by Kavakos.  

His interpretations are pure and genuine. He is not looking to impress. He seeks fidelity, purity of sound and spirit. His deep understanding of Beethoven’s works shows in every single interpretation, and the powerful romantic energy that moves the artist during his performances is highly contagious to the listener. Absolutely recommendable recording and a “must have” of any Beethoven fan.

Jonas Kaufmann rejoins with his music companion Helmut Deutsch the recording of these lieder, a repertoire so adored by the singer, recorded at the heart of an exceptional period, marked by the pandemic that paused our lives. 

Reunited during confinement around a piano, the two artists recorded a generous bouquet of twenty-seven lieder which is the result of a common choice. 

The interpretation is invigorating. Jonas Kaufmann plays with highly refined style as a liederista, with a nuanced balance between containment and expansion.  

The artist’s voice perfectly matches the chamber repertoire because he is a sui generis tenor, with the central width and bass characteristic of a baritone. His admirable control of the volume allows him to be pathetic in exclamation and minimalist intimacy, admirably adapting to the poem’s demands.  

The tenor masterfully interprets Friedrich Silcher’s Lied ‘Ännchen von Tharau’, with an accompaniment that intertwines the text with the music very well. The piano melody turns out very expressive in the Austrian pianist’s fingers. This recital could not miss ‘Auf Flügeln des Gesanges’ op. 34/2 by Felix Mendelssohn, one of the most beautiful songs in the Lied. Kaufmann’s voice flows over the subtle and ethereal melody played by Deutsch. Starting with non-German-speaking composers, the tenor sings “Ich liebe dich”, by Edvard Grieg, with a “parlado” style in some phrases. Then with a powerful and highly moving voice, he sings the declaration of love to his beloved. Kaufmann is a master in controlling the level of expressiveness; he knows how to provide exactly the right touch of passion. 

The program evolves with a constant gradation in emotion, moving from naive love to burning passion and ending with disillusion and farewell to life.  Kaufmann’s wide vocal palette acquired with maturity and experience works wonders here: he plays the heroic voice sparingly, using all his artistic resources from a seductive principal voice to a keen sense of phrasing, notably in Strauss’s Allerseelen and Zueignung.  

Kaufmann elaborates the texts with such detail and sings them with such wise application that each piece gains unity and the whole, familiarity. 

Some listeners might be surprised by the choice of Tchaikovsky but keeping in mind that this is a “romantic songs” disc, it takes on its full meaning.  The balance of its verses and the beauty of the words in Johann Wolfgang von Goethe’s poem Nur wer die Shensucht kennt is just divine. 

Kaufmann is an excellent storyteller and the magnificent accompaniment of Deutsch creates the perfect atmosphere for these narratives. The excellent performance of Jonas Kaufmann and Helmut Deutsch make this album a true treasure for all Lied lovers. 

Soprano Natalie Dessay published on 2017 her first Sony CD.  Inspired by the paintings of Edward Hopper, soprano dives herself in the American Songbook, with a series of songs arranged by distinguished jazz musicians.  

The paintings that inspired each song aren’t included in the commercial packaging, so that nothing eclipses the recording itself, which really stands out.  

After a three-year forced pause caused by a vocal surgery back in 2002, Dessay had to adapt her repertoire by doing chansons and musicals. The chanson album “Entre elle et lui” with Michel Legrand from 2013 is now followed by the album “Pictures of America” devoted to the American songbook.  

She says herself in the booklet notes that she worked to “develop a new voice – a deeper and more intimate sound that would whisper into the listener’s ear. It was a voice I had to learn to control, like a small, secretive wild animal.”  

In spite of the changes in her voice, she managed to keep the essence of her brilliant, focused core of sound. Dessay adopts a delicate and subtle sound with a deeper agile voice full of wonder and nuances. The arrangements of these familiar songs are artistic and surprising, including imaginary instrumental interludes that take full advantage of the string textures.  

Her new album demonstrates solemnly that her operatic voice may well be transformed into a musical, and she succeeds satisfactorily in such transformation, without even suspecting which powerful voice is behind this singer.  Being a vastly experienced opera singer, she masters the voice control techniques being able to generate the most refined moods and sound colors to match the atmosphere matching of every respective song. 

Dessay quality of singing is very noticeable. Her English diction on Disc One is admirably clear and comprehensible. The voice, now lower in tone, sounds clean and precise, however sometimes it lacks a bit of strength and energy at the most demanding moments. 

Isolation and sadness rule the general mood of the album, Pictures of America inspired by the Pictures of the American painter Edward Hopper.  However, there is also room for joy and cheerfulness in this excellent recording by Sony where, thanks to the high-resolution technique, not a single detail is lost from the masterly interpretation of the songs by Natalie Dessay. 

With this CD the virtuoso soprano has proven that nothing can stop an innate talent when it comes together with willpower together with hard work and practice. Highly recommended. 

In May 2019 Hilary Hahn’s repertoire was enlarged with her commission to Antón García Abril of a series of new compositions for her latest album, published under Decca Records.  

García Abril has followed in the footsteps of great composers such as Bach, Ysaÿe and Ernst in writing these pieces, six movements that take their names from the acronym for Hilary: Heart, Immensity, Love, Art, Reflective and You. Being a great admirer of the Spanish composer, Hahn encouraged the composition of these pieces and premiered them between 2016 and 2017. Since then, she has performed them all over the world. 

Winner of three Grammy Awards, the violinist Hilary Hahn stands out for her virtuosity, the quality of her performances and her choice of repertoire. Her approach to the new creation and the active role that she plays in the diffusion of music and around her own experiences have made Hahn one of the favorite artists of the public. 

The six pieces collect a work passionate but very measured on each step and each note. The composer’s extensive experience and his undeniable talent was brought to the service of the demands of a performer with a prodigious technique and outstanding artistic sensitivity. The suggestive titles for each of the pieces, whose first initials form the name of the violinist-Hilary- denotes the master’s very personal dedication to the phenomenal violinist. 

Through this recording Hilary Hahn enchants the listeners with the crystalline sound of her violin, her inspired expressive vehemence and her immaculate technique. Her interpretation is passionate and dazzling, recreated in a never empty virtuosity, loaded with penetrating melodism that invades the listener and deeply moves them. 

“Every note somehow feels dedicated to me,” Hilary wrote in her blog. “The phrasings that I’ve never encountered before, that he imagined me playing, feel like they were meant for me to interpret. When I play them, I feel like they are significant. They’re beautiful, expressive, mercurial, colourful, abstract, detailed, dancing, impetuous and full of motion and emotion.” 

We are in front of a highly recommended album that combines the tradition of the solo violin with the new compositional techniques inspired on Hilary.