This double album from Harmonia Mundi showcases Schumann’s complete String Quartets, Op. 41, and his Piano Quintet, both composed in 1842. Listeners might naturally compare these performances to the renowned Zehetmair Quartet recordings, which profoundly influenced our perception of the first and third quartets. 

Quatuor Hanson presents a more refined sound in their renditions. While their interpretation of the first quartet lacks some of the eerie quality found in the Zehetmair’s version, the overall excellence and dedicated performance of Quatuor Hanson more than make up for it. Their versions are imbued with a gentle Romantic warmth, accentuated by well-timed vibrato. They adeptly manage tempos and achieve exceptional instrumental balance, thanks to a close, clear recording that avoids being overly sterile. 

For the Piano Quintet, Adam Laloum collaborates with Quatuor Hanson. Many renditions of this piece treat it almost like a piano concerto with string quartet accompaniment. However, Laloum’s approach is different; he emphasizes a true chamber music experience, blending the piano seamlessly with the quartet. His interpretation aligns more with Pires than Argerich, drawing a parallel to these other distinguished pianists known for their nuanced performances. 

Interestingly, the balance achieved here is reminiscent of period-instrument recordings, such as those by the Michelangeli Quintet, who employ a fortepiano (though the specific instrument Laloum uses is not detailed in the album booklet). Once listeners acclimate to this style, the uniformity of balance and the cohesive, thoughtful interpretation across all performers become apparent. 

As seen in Quatuor Hanson’s previous Haydn project, not every listener may agree with all interpretative choices. Nonetheless, the results are invariably captivating and merit multiple listens. 

Entering the world of Gabriel Fauré’s Nocturnes and Barcarolles through Marc-André Hamelin’s latest release for Hyperion is akin to stepping into a dreamy sonic realm where emotions and melodies intermingle effortlessly. With Fauré’s compositions spanning the transitional period from post-Romanticism to early modernism, Hamelin offers a profound exploration of these musical treasures. 

The collection of 13 Nocturnes serves as a testament to Fauré’s extraordinary ability to encapsulate profound emotions within concise musical forms. In contrast to the delicate nuances often associated with Chopin’s Nocturnes, Fauré’s creations can be emotionally gripping and raw, as exemplified in the haunting E-flat minor Nocturne (track 1). Hamelin’s interpretation, with its carefully crafted descending lines, seamlessly guides the listener from gentle poignancy to the depths of melancholic despair. 

Fauré’s Nocturnes are characterized by their weightiness, achieved through the generous use of the bass register. This unique feature, when combined with the bel canto melodies, as heard in Op. 33 No. 3 (track 3), creates a dreamy and nostalgic atmosphere reminiscent of Chopin. However, it is the interplay between the melody’s yearning for the horizon and the persistent pull of the resolute bassline that adds depth and complexity to these compositions. 

The richness of Fauré’s Nocturnes owes much to his intricate contrapuntal textures, and Hamelin skillfully highlights these intricate layers in his performance, particularly in Op. 84 No. 8 (track 8). Here, the melody weaves through the lower, middle, and upper voices, conjuring a Lisztian three-handed effect. Hamelin’s transitions between these voices are seamless, revealing a kaleidoscope of emotions ranging from sweeping and rhapsodic to mellow and sparkling. 

Turning to the Barcarolles, composed over several decades from 1882 to 1921, we find a collection of 13 distinct interpretations of the gondoliers’ song, unified by the gentle swaying rhythm akin to a boat gliding on tranquil waters. Although the Barcarolles may lack the emotional intensity of the Nocturnes, they possess their own unique charm and beauty, each presenting a vibrant and multifaceted perspective. 

Fauré’s composition arc within the Barcarolles is a fascinating journey. Starting with the serene A minor (No. 1) and the lyrical G major (No. 2), the listener is gently guided through calm waters. However, as the collection progresses, the intensity builds. The D minor (No. 7) oozes tension and anguish, while the major-key No. 8 takes an impassioned and rhapsodic turn. The final Barcarolles, while calm, are not without their moments of high drama. The closing C major piece leaves us pondering Fauré’s daring use of angular and even jarring intervals. 

Among the Barcarolles, No. 10 in A minor (track 23) stands as a personal favorite. It exemplifies Fauré’s mastery in using harmony to create stark contrasts and alluring mystery. The opening melody oscillates between somber and sinister, navigating a world of shifting consonance and dissonance. The recapitulation in the final section is a complex journey through turbulent chromaticism, yet Hamelin’s left-hand theme emerges as a reassuring voice of reason amidst the storm. 

Marc-André Hamelin delivers an exceptional performance, allowing Fauré’s music to come to life in all its glory. His interpretations are characterized by their contemplative nature and a deliberate avoidance of haste, yet they maintain a thread of drama and excitement. The sound engineering, meticulously attuned to Hamelin’s musical sensibilities, elevates an already splendid presentation. This album invites repeated listening, promising fresh revelations with each return to Fauré’s enchanting compositions. Marc-André Hamelin’s masterful rendition reaffirms the enduring allure of classical music’s timeless gems. 

Paavo Järvi’s enduring fascination with Anton Bruckner is no secret, and his latest venture with the Tonhalle-Orchester Zürich presents a new perspective on Symphony No. 8. This recording follows closely on the heels of their rendition of the seventh symphony, inviting listeners to explore Järvi’s evolving interpretation of Bruckner’s monumental works. Having previously embarked on a comprehensive Bruckner cycle with the Frankfurt Radio Symphony Orchestra, one cannot help but wonder if the ten-year gap between recordings has ushered in significant changes in Järvi’s approach. 

One of the most noticeable alterations lies in tempo, as each movement of this rendition unfolds at a slower pace, adding approximately five minutes to the overall playing time. While the Tonhalle-Orchester Zürich, a notably fine ensemble, may not possess the same sonic grandeur as orchestras in Amsterdam, Berlin, or Vienna that are synonymous with Bruckner, they bring their own unique qualities to the performance. Järvi’s previous Frankfurt recording exudes greater weight and tonal splendor, making it a standout in his discography. However, the Tonhalle-Orchester’s distinctive qualities, such as their sweetly lyrical string playing and characterful winds, provide a refreshing perspective on Bruckner’s work, allowing for different interpretive possibilities. 

Paavo Järvi’s recordings are synonymous with technical polish, balanced textures, and a nuanced interplay of light and shade, and this rendition is no exception. Yet, a noticeable shift in approach is evident. In Frankfurt, Järvi was direct and unpretentious, trusting in the music’s inherent power. In contrast, his more recent interpretation adopts a more willful profile, occasionally resulting in exaggerations that may not resonate with all listeners. 

One instance of this interpretive shift occurs in the first movement, where Järvi intentionally slows the tempo (beginning at 5’20”), creating a sense of stasis that might remind some of Mahler’s sixth symphony. While there may be an attempt to draw a connection between the two composers, it appears somewhat forced in the context of Bruckner’s composition. This moment disrupts the natural pulse and compromises the structural integrity of the piece. A few minutes later (at 8’48”), Järvi takes liberties with the brass lines as they approach their climax, lacking the subtlety found in the Frankfurt recording. Instead of building inexorably toward its peak, the music is hindered in its intended journey. While the final climax (at 14’16”) boasts a menacing ferocity, the trumpet fanfares that follow seem like an afterthought, diluting the emotional weight of the passage. 

Paavo Järvi’s return to Bruckner’s Symphony No. 8 with the Tonhalle-Orchester Zürich showcases an artist in transition. While this recording offers its own distinct qualities and perspectives, the interpretive choices may not align with every listener’s expectations. Järvi’s previous Frankfurt recording, with its directness and unpretentiousness, remains a benchmark for many Bruckner enthusiasts. Nonetheless, this rendition provides an intriguing glimpse into the evolving artistic journey of a conductor who continually seeks new avenues of expression within the vast world of classical music. 

Handel’s opera, “Alcina,” finds a fresh and compelling interpretation in the latest release by Pentatone, featuring the exceptional talents of Les Musiciens du Louvre under the direction of conductor Marc Minkowski. While there are few recordings of this Tempest-like masterpiece, this rendition stands out not only for its dramatic flair but, most notably, for the tour de force performance by mezzo-soprano Magdalena Kožená in the titular role. 

Kožená’s portrayal of Alcina is nothing short of mesmerizing. Her ability to infuse every sung word with emotional depth while maintaining the integrity of Handel’s intricate musical structure is commendable. The mezzo-soprano’s exceptional low notes add an extra layer of richness to her delivery, creating a truly captivating listening experience. Particularly noteworthy are her riveting performances in the pivotal Act 2 scenes of rejection, vengeance, and despair, where Kožená’s artistry shines brilliantly. 

The supporting cast complements Kožená’s brilliance with top-notch performances. Erin Morley brings a crystalline soprano to the role of Morgana, Alcina’s flightier sister, while Elizabeth DeShong’s expressive vocals as Bradamante add depth to the ensemble. Anna Bonitatibus impresses with her dark and agile voice, perfectly capturing Ruggiero’s impetuosity. Minkowski’s direction encourages each performer to lavishly decorate the repeats in their arias, and the entire ensemble rises to the challenge with flair and precision. 

Les Musiciens du Louvre, under the masterful guidance of Marc Minkowski, delivers a spellbinding rendition of Handel’s “Alcina,” with Magdalena Kožená’s stellar performance at its heart. Despite the shortcomings in the CD release, the musical excellence and emotional resonance of this recording make it a standout addition to the catalog of Handel’s operatic masterpieces. 

Christian Măcelaru and the WDR Sinfonieorchester, in their latest album featuring Brahms’ Piano Concertos with pianist Simon Trpčeski, take a distinctive turn from their previous endeavors. However, this rendition invites comparisons with notable performances by other maestros, creating an interesting discourse on interpretation and execution. 

The journey begins with the D minor concerto, and while the orchestral layering is evident, Măcelaru’s approach feels light-handed, lacking the requisite Maestoso character. The timpani, crucial for establishing mood, disappointingly takes a backseat, only making a significant impact in the finale’s closing bars. Trpčeski’s entrance doesn’t elevate the performance, and over-pedaling leads to an atmospheric, rather than heady, ambiance. The frustration peaks in moments like 10’39”, where the octaves lack the necessary momentum. The Adagio’s pacing is reasonable, yet the spirit falls short, missing the profundity and expansiveness demanded by Brahms’ transcendent melodies. Trpčeski maintains a gentle approach, offering introspection but still falling short of more emotionally charged renditions. 

The Finale emerges as the strongest segment, with Trpčeski’s clarity and space in staccato notes delivering pristine passagework. However, the delayed gratification of the needed drive in the jubilant D major section raises questions about the conductor’s intent. 

The B-flat major concerto shows promise, marked by a well-enunciated French horn solo and increased vigor. The noble orchestral interlude and Trpčeski’s empathic chords demonstrate the energy lacking in the D minor concerto. However, inconsistencies persist, with the second movement reverting to old habits, demanding more insistence from the soloist. The cello solo in the slow movement shines, exhibiting beautiful vibrato and expressive shifts in color. Trpčeski’s responsiveness to tonal movement is effective, though some additional playfulness could enhance the listening experience in certain moments. 

In summary, the album leaves a mixed impression. While the B-flat major concerto showcases the performers’ capabilities, the inconsistencies and shortcomings in the D minor concerto prevent it from standing out among preferred listening points. This release, though competent, may not alter existing recommendations for top choices in Brahms’ Piano Concertos. 

Matthias Goerne’s Im Abendrot: Songs by Wagner, Pfitzner, Strauss, released in 2021, is a mesmerizing voyage through the world of Lieder, showcasing the baritone’s unparalleled talent. With a voice akin to brushed velvet and crystal-clear diction, Goerne deftly navigates a repertoire that is often associated with sopranos, proving that beauty and emotion can be found in lower registers as well. 

The program opens with Wagner’s Wesendonck Lieder, where Goerne paints a vivid musical landscape in shades of yellow and brown. “Im Treibhaus” reveals haunting shadows of Tristan und Isolde, while the closing piece, “Träume,” evokes a profound sense of longing and yearning, nearly burying the listener under waves of emotion. 

Hans Pfitzner, an often overlooked composer, takes center stage with his rendition of “Im Abendrot.” Goerne’s interpretation offers a poignant contrast to Strauss’s work of the same title, breathing new life into this composition. Pfitzner’s music may have an aged quality, but in Goerne’s hands, it becomes a captivating and emotionally charged experience. 

The five Strauss tracks included in the album are nothing short of minor miracles. Goerne’s rendition of the well-loved “Morgen!” delicately frees it from its traditional feminine interpretation, offering a fresh perspective on this timeless classic. However, what truly astonishes is the empathetic and skillful piano accompaniment. 

While Matthias Goerne has often formed a remarkable partnership with the Russian pianist Daniil Trifonov, in this recording, he is joined by the Korean Chopin Competition winner, Seong-Jin Cho. Cho, despite his youthful age of 25, demonstrates a level of sensitivity and artistry that is truly exceptional. His piano playing shines brightly and often steals the narrative in the album’s finest moments. 

“Im Abendrot” is a five-star album that showcases Matthias Goerne’s mastery of Lieder singing. His voice, combined with the remarkable piano accompaniment by Seong-Jin Cho, creates a mesmerizing musical experience that transcends boundaries. Even if you think you can’t bear Lieder singing, this album may just change your mind. It’s a testament to the power of music to touch the soul and evoke deep emotions. 

Samuel Hasselhorn, the illustrious baritone who clinched the First Prize in the Queen Elisabeth Competition in 2018, has solidified his place in the international music scene, captivating audiences as both an opera singer and a recitalist. His latest release, “Die schöne Müllerin D795,” in collaboration with pianist Ammiel Bushakevitz, is a testament to his remarkable talent and deep emotional insight. 

The album opens with the mellow yet emotionally charged “Das Wandern.” Hasselhorn meticulously adheres to Schubert’s score, beginning at a “Mässig” (Moderate) tempo for the first three stanzas and then gently slowing down to an almost “Andante” pace for the final two. This deviation in tempo adds a magical dimension to the music, setting the stage for what’s to come. 

Throughout the cycle, Hasselhorn demonstrates a stunning range of soft nuances, while still exuding power and energy. In “Halt!” (track 3), his interpretation is vital and robust, while “Der Jäger” captures the despair of realizing the presence of a rival. This shift in emotion is stark, especially considering the intimate conversation between the protagonist and the Müllerin in “Morgengruss.” The subsequent songs, “Tränenregen” and “Mein!” are overflowing with rapture as he rejoices in his love, building to ecstasy in “Mit dem grünen Lautenbande.” 

However, just when all seems perfect, the hunter appears, and Hasselhorn’s portrayal of the sudden transformation is nothing short of brilliant. This pivotal moment, marked by the abrupt shift from joy to jealousy, is rendered without exaggerated theatrics, creating a captivating experience that leaves the listener in awe. 

The concluding songs are marked by resignation and acceptance, beautifully melancholic as heard in “Trockne Blumen.” The dialogue between the Miller and the brook is particularly moving, and the postlude after “Des Baches Wiegenlied” offers a sense of soft, comforting closure, akin to the sound of gentle church bells. 

Ammiel Bushakevitz, the accomplished pianist accompanying Hasselhorn, deserves special mention. His accompaniment is deeply engaging and seamless, creating a symbiotic partnership with the baritone. Their collaboration elevates this rendition of “Die schöne Müllerin” to a new level of artistry. 

In a vast collection of recordings spanning decades, Samuel Hasselhorn’s interpretation of Schubert’s “Die schöne Müllerin” undoubtedly ranks among the finest. While choosing a definitive favorite remains an impossible task, Hasselhorn’s performance places him securely in the upper echelon of interpreters of this timeless masterwork. Music lovers will find his rendition a true delight, breathing fresh life into Schubert’s enduring masterpiece. 

“For Clara: Works by Schumann & Brahms” is a musical journey that beautifully captures the essence of Clara Schumann’s influence on Robert Schumann and Johannes Brahms, while showcasing the talents of two exceptional artists, Hélène Grimaud and Konstantin Krimmel. 

The album opens with Hélène Grimaud’s mesmerizing interpretation of Robert Schumann’s “Kreisleriana Op. 16.” These eight pieces are not just a collection of notes; they are a testament to the deep emotional connection between Robert and Clara. Grimaud’s delicate touch and expressive playing transport the listener into the heart of this passionate and tumultuous relationship. She effortlessly navigates the contrasting moods within the composition, from fiery and tumultuous to tender and introspective. Grimaud’s mastery of the piano shines through, making each note an exquisite brushstroke on a canvas of emotions. 

A highlight of the album is the collaboration between Hélène Grimaud and baritone Konstantin Krimmel in Johannes Brahms’ “Lieder und Gesänge, Op. 32.” Brahms’ choice of poetry and the themes explored in these nine songs reflect the profound influence of Clara Schumann on his life and work. Krimmel’s rich and resonant voice pairs beautifully with Grimaud’s sensitive piano accompaniment, creating a seamless blend of vocal and instrumental expression. Their rendition of Brahms’ Lieder captures the essence of love, longing, and devotion, taking the listener on a lyrical journey through the depths of human emotion. 

The album’s thematic coherence and the synergy between Grimaud and Krimmel make it a compelling listening experience. Both artists bring a deep understanding of the composers’ intentions and the historical context in which these works were created. This knowledge infuses every note with authenticity and emotional depth. 

In addition to the captivating performances, “For Clara” also pays homage to Clara Schumann’s role as a muse and collaborator. It sheds light on the intricate web of relationships that shaped the Romantic era of classical music, making it a must-listen for those interested in the intersection of art, love, and creativity. 

Overall, “For Clara: Works by Schumann & Brahms” is a remarkable tribute to Clara Schumann’s enduring legacy and the profound impact she had on two of the most celebrated composers of the 19th century. Hélène Grimaud and Konstantin Krimmel’s artistry and deep musical insight bring these timeless compositions to life, making this album a delightful and emotionally resonant addition to any classical music collection. 

Ruby Hughes returns with her third album, “End of My Days,” showcasing her remarkable vocal prowess and an eclectic repertoire that spans almost 500 years. Collaborating with the Manchester Collective, Hughes delivers a diverse collection of works, featuring both well-known and lesser-known composers. The album presents a sonic journey that captivates with its expressive performances and thoughtful programming. 

The album opens with Brian Elias’ “Meet Me in the Green Glen,” a bold choice that allows Hughes to shine without any accompaniment. Her vocal clarity, diction, and expressiveness are on full display, creating a haunting atmosphere that draws listeners in. The Manchester Collective makes a strong entrance with Caroline Shaw’s “Valencia,” demonstrating their mastery of motivic minimalism and texture layering. 

David Bruce’s arrangements of John Dowland’s laments introduce an interesting twist, though some may find them less effective than the original compositions for voice and lute. Despite some differences in timbre, the performers deliver a highly expressive performance, emphasizing the shifts between light and dark harmonic colors in “Flow My Tears” and achieving a mellow tapestry in “Crystal Tears.” 

The eponymous track, “End of my Days,” from Errollyn Wallen’s set, “Are You Worried about the Rising Cost of Funerals?” adds a darker theme to the album. Hughes and the ensemble skillfully navigate the dichotomy between resignation and defiance, creating a poignant interpretation that explores the acceptance of the inevitable. 

Standout tracks include Jake Heggie’s arrangements of Debussy’s Chansons Bilitis, where Hughes collaborates with the Manchester Collective to bring out the more nuanced side of Debussy’s whimsical compositions. “La Flûte de Pan” captures an intimate soundspace, while “La Chevelure” reveals tension and conflict between the strings and Hughes’ rapture-filled melody. The final track, “Le Tombeau des Naïades,” concludes with unexpected optimism, leaving a lasting impression. 

The sound engineers at BIS deserve commendation for sensibly balancing the voice and instruments, creating a clear and immersive listening experience. The inclusion of SACD surround sound enhances the clarity, making the audience feel intimately connected to the performances. The addition of song texts and translations further enriches the overall experience. 

“End of My Days” is a testament to Ruby Hughes’ versatility and the collaborative synergy with the Manchester Collective. With top-notch performances and thoughtful programming, this album is a must-listen for those seeking a captivating journey through centuries of vocal and instrumental artistry. Highly recommended without reservation. 

In Nikolai Lugansky’s rendition of Wagner’s ‘Famous Opera Scenes’, listeners are treated not just to a display of technical brilliance but to a transformative journey through the heart and soul of Wagnerian drama. While Lugansky’s virtuosity is evident from the outset, his true artistry lies in his ability to transcend mere technical prowess and evoke the profound emotional depths inherent in Wagner’s compositions. 

From the resplendent cascades of the Magic Fire Music to the somber reverie of Siegfried’s Funeral March, Lugansky’s interpretation is marked by an exquisite blend of precision and passion. Each note is imbued with meaning, each phrase carefully crafted to convey the complex tapestry of emotions that define Wagner’s operatic universe. 

What sets Lugansky’s performance apart is his uncanny ability to capture the essence of each scene, drawing listeners into the very fabric of the narrative. Whether it’s the nostalgia tinged with vulnerability in Siegfried’s Funeral March or the juxtaposition of innocence and pain in Parsifal, Lugansky’s keen insight and sensitivity shine through, illuminating the nuances of Wagner’s musical language. 

Despite the varied origins of the arrangements, Lugansky navigates them with consummate skill, seamlessly weaving together disparate threads into a cohesive and immersive tapestry of sound. His rendition of the Götterdämmerung excerpts stands as a testament to his mastery, holding its own against the transcriptions penned by 19th-century giants. 

Furthermore, the recording’s pristine sound quality serves to enhance the overall listening experience, allowing Lugansky’s artistry to shine through with crystal clarity. In his hands, Wagner’s ‘Famous Opera Scenes’ are not merely performed but lived, evoking a sense of awe and wonder that resonates long after the final note has faded. 

 Nikolai Lugansky’s ‘Famous Opera Scenes’ is a triumph of interpretation and execution, offering listeners an immersive journey into the heart of Wagnerian splendor. Whether you’re a seasoned aficionado or a newcomer to the world of opera, this recital is sure to captivate and inspire, reaffirming Wagner’s enduring legacy as one of the greatest composers of all time.