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.

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.