Boris Giltburg, a prodigious virtuoso with roots tracing back to the Russian school, has, in his latest release, delved into the rich tapestry of Rachmaninov’s masterpieces. While Giltburg has often showcased his prowess in the works of Beethoven and Prokofiev, his exploration of Rachmaninov’s Piano Concerto Nos. 1 & 4, along with the Rhapsody on a Theme of Paganini, reveals a musician who has truly come into his own within this profound tradition.

At the heart of this recording is Giltburg’s interpretation of the Rhapsody on a Theme of Paganini, Op. 43. This composition has graced countless concert halls, yet Giltburg breathes new life into the familiar melodies. From the outset, it’s evident that Giltburg possesses an innate ability to unveil the hidden nuances of Paganini’s theme, leading the listener on a thrilling journey of discovery. His approach is refreshingly nuanced, bringing forth a sense of wonder with each twist and turn. Accompanied by the Brussels Philharmonic, conducted by the dynamic Vassily Sinaisky, the performance is a harmonious fusion of Giltburg’s artistry and the orchestra’s responsive energy.

Giltburg’s choice of the Fazioli piano lends an intriguing touch to his interpretation. Its lighter tonality, while uncommon in Rachmaninov’s world of grand emotions, fits seamlessly into Giltburg’s vision, adding a layer of elegance to the composition. This unique tonal quality becomes a defining element, setting his performance apart from the crowd and allowing listeners to re-imagine a beloved classic.

The centerpiece of the collection is the Piano Concerto No. 1 in F sharp minor, Op. 1, presented in its revised 1917 version. Here, Giltburg’s finesse shines through, as he navigates the intricate interplay between the piano and the orchestra. The lush soundscapes, rich in emotional depth, are expertly captured, providing a truly immersive listening experience. The symbiotic partnership between Giltburg and Sinaisky remains palpable, with their synergy enhancing the concerto’s grandeur.

An exceptional aspect of this release is the impeccable studio sound quality offered by Naxos. Every note resonates with clarity, allowing the intricacies of Giltburg’s interpretation to reach the listener’s ears with an astonishing level of detail. The warmth and richness of the recording contribute to the overall excellence of this Rachmaninov album.

Boris Giltburg’s foray into the world of Rachmaninov is a resounding success. His deep connection to the music, coupled with his virtuosic prowess and innovative choices, results in a collection that not only pays homage to tradition but also unveils new facets of these well-loved compositions. With the spirited support of the Brussels Philharmonic under Vassily Sinaisky’s direction, Giltburg’s renditions of the Rhapsody on a Theme of Paganini and the Piano Concerto No. 1 stand as true highlights. This recording, adorned with exquisite sound quality, undoubtedly earns its place as a standout Rachmaninov release, placing it far above the ordinary and solidifying Giltburg’s position as a remarkable interpreter of Russian musical treasures.

Raphaël Feuillâtre’s debut album “Visages Baroques” is a mesmerizing exploration of Baroque music’s diverse landscapes, brilliantly captured through the strings of his guitar. The album’s unique focus on works by Johann Sebastian Bach, Jacques Duphly, Antoine Forqueray, Jean-Philippe Rameau, and Pascal Royer presents a captivating blend of contrasting styles and illuminates the art of transcription during the Baroque period.

Feuillâtre, a virtuoso French guitarist at the tender age of 27, showcases his remarkable ability to infuse the music with a balance of power and sensitivity. His playing is characterized by a lightness of touch that beautifully renders the intricate ornamentation, capturing the essence of the original pieces. The album opens and closes with two of Bach’s most iconic compositions, the Prelude in C major BWV 846 and Gavotte and Rondeau from the E major Lute Suite BWV 1006a. These selections set the stage for a captivating journey through time and style.

The album’s centerpiece is Bach’s Partita No. 1 BWV 825, presented in an arrangement by Reichenbach. Feuillâtre’s interpretation of this work demonstrates his profound understanding of Baroque phrasing and his ability to bring out the unique colors and textures of the guitar. The inclusion of Bach’s Concerto in D major BWV 972, a keyboard arrangement of Vivaldi’s work further transcribed for guitar by Judicaël Perroy, highlights Feuillâtre’s versatility and creativity in bridging musical worlds.

Feuillâtre’s musical intelligence is evident throughout the album, as he navigates the complex ornamentation of French character pieces with finesse and flair. From the charming elegance of Royer’s ‘L’Aimable’ to the dramatic intensity of Forqueray’s ‘La Bellmont,’ Feuillâtre maintains a seamless momentum and coherence of line, keeping the listener engaged and enchanted. Notably, Feuillâtre pays homage to his harpsichord roots with Duphly’s ‘Médée’ and his own rondeau dedicated to ‘La Forqueray,’ infusing the pieces with his signature style.

The album’s highlights include Rameau’s ‘L’entretien des Muses’ and ‘Les Cyclopes,’ which showcase Feuillâtre’s impeccable technique and his ability to evoke clear, airy virtuosity. These selections, along with others, emphasize the guitar’s unique capacity for bringing out the intricacies of Baroque compositions, transporting the listener to a world of elegance and refinement.

“Visages Baroques” is a delightful and masterfully curated program that showcases Raphaël Feuillâtre’s exceptional talent and deep musical insights. His performances on the guitar breathe new life into these timeless compositions, allowing listeners to appreciate the intricate beauty and emotional depth of Baroque music in a fresh and captivating way. Deutsche Grammophon’s release of this album is a gift to both Baroque enthusiasts and newcomers alike, inviting them to embark on a luminous journey through the rich tapestry of the past.

In the world of classical music, few composers command the respect and intrigue that Jean Sibelius does. His Symphonies Nos 3 & 4, performed here by the Orchestre Métropolitain de Montréal under the baton of Yannick Nézet-Séguin, offer listeners a fresh perspective on the Finnish composer’s profound works. Yet, as the notes unfold and the melodies dance, a lingering question emerges: is this interpretation of Sibelius’s masterpieces truly capturing their essence?

From the outset, it becomes evident that Nézet-Séguin’s approach is one of delicate beauty. The performances are undeniably exquisite, each passage carefully rendered and meticulously recorded. Nézet-Séguin demonstrates an uncanny ability to unearth Sibelius’s intricate layers, bringing forth details that often remain hidden in more generalized renditions. The Romantic nuances of Sibelius’s expression are highlighted, showcasing the composer’s prowess as a melodist.

The Third Symphony’s finale, although building in intensity, lacks the sensation of riding a crescendoing wave of elemental force that has characterized iconic interpretations. This absence of raw, underlying power is similarly felt in the Fourth Symphony, where the tumultuous emotional shifts are smoothed over, potentially rendering the music more accessible but sacrificing the chance to delve into Sibelius’s proclaimed “psychological symphony.”

A peculiar accentuation comes to the forefront in this rendition, with moments like the timpani climax in the Second Movement of the Third Symphony and the string finale of the Largo in the Fourth Symphony raising an eyebrow. While interpretations can certainly bring new insights, these choices appear to deviate from the scores’ intentions, adding a layer of uncertainty to the listening experience.

One of the more contentious aspects is the conclusion of the Fourth Symphony. While the idea of a prolonged decrescendo after the climax has its merits, the execution here verges on operatic theatrics, diverging significantly from the stoicism and grim acceptance that define some of the most profound performances of this work. This departure can leave the listener feeling disconnected from the emotional gravity that Sibelius intended to convey.

In summary, Sibelius: Symphonies Nos 3 & 4, as interpreted by Yannick Nézet-Séguin and the Orchestre Métropolitain de Montréal, offers a window into the Romantic splendor and melodic brilliance of Sibelius’s compositions. The performances are unquestionably beautiful, revealing layers of detail that might otherwise remain concealed. However, this beauty comes at a cost. The inherent elemental drama and psychological depth that define Sibelius’s symphonies are, at times, overshadowed by a more polished, accessible interpretation. While this rendition provides a unique perspective, listeners seeking the profound and transformative power of Sibelius’s music may find themselves yearning for the resounding emotional depths that other performances have so effectively plumbed.

In a spellbinding new release, Rafał Blechacz, the esteemed pianist, embarks on a transformative journey through Chopin’s timeless works. The album’s minimalist title belies the weighty program it encompasses, featuring Chopin’s Sonatas Nos. 2 and 3, the Op. 60 Barcarolle, and Op. 14 F-sharp minor Nocturne. A repertoire performed by many, Blechacz’s task of bringing novelty and fresh insight to these classics begs the question: does he succeed?

In the accompanying liner notes, Blechacz provides a fascinating glimpse into his musical philosophy, expressing his desire for greater freedoms in expression and interpretation of these monumental pieces. This creative vision comes to fruition in his rendition of the second Sonata, where Blechacz infuses the first movement with a captivating flexibility in tempo and articulation. Unlike other renditions that emphasize metronomic precision, Blechacz’s approach is like a gentle breeze caressing the keys, bringing forth terrifying surges and swells of urgency that grip the listener. His calculated voicing in the D-flat major second theme lends an air of bel canto elegance, showcasing his mastery of delicate nuances.

Venturing into the Scherzo, Blechacz’s performance stands apart from the whirlwind ferocity of some renowned interpretations. Instead, he adopts a more measured approach reminiscent of Horowitz and Sokolov, proving that measured doesn’t equate to uninteresting. The staccato repeated notes are delivered with a raw, almost gritty insistence, effectively setting the stage for the major-key flourishes, which unfold with delightful finesse. A refreshing attention to the waltz accompaniment in the middle section further elevates Blechacz’s artistry. One minor point of critique might be the need for more emphasis in the descending middle voice passages.

The Funeral March (track 3) holds particular significance, capturing the essence of the current era with its weighty emotions echoing recent global and social events. Blechacz masterfully crafts a “less-is-more” approach, embracing unadorned simplicity in the opening passages. The straight rhythms and even phrasing create a mesmerizing space for contemplation and introspection. As the piece progresses, Blechacz expertly weaves lyricism and richness into the melody, leading to a gradual crescendo of sonoric and emotional intensity, culminating in a soaring climax at 1’13”. Only a slight harshness in the chords and a missed opportunity to linger in the arrival of D-flat major distract from an otherwise compelling performance.

The Op. 58 B minor Sonata’s first movement, while expressive and skillful, lacks the convincing power present in the preceding works. Comparisons with Maria Joao Pires’s rendition reveal a slightly rushed tempo, robbing the music of breathing room and resonating chords. However, Blechacz still manages to captivate listeners with moments of brilliance, particularly in a breathtaking color change at 2’23”, made all the more impactful by a skillful use of silence. The Scherzo is a definite highlight, with Blechacz’s fingerwork enchantingly delivering effervescent runs that sparkle and dance with exuberance. The Finale’s abundant energy may, at times, overshadow the long-term growth of the interpretation, falling just shy of the dynamism found in Ivo Pogorelich’s unconventional but thoughtfully structured approach.

The album’s shorter works, the F-sharp minor Nocturne and the Barcarolle, further showcase Blechacz’s artistry. In the Nocturne, his sensitive touch achieves a mesmerizing balance between the silky accompaniment and the supple melody, enchanting listeners with its intimate charm. The Barcarolle, a masterpiece of gentle rocking rhythms and tender melodies, becomes a heartfelt narrative under Blechacz’s skilled hands.

In this remarkable release, Rafał Blechacz not only displays his profound familiarity with Chopin’s works but also delivers enchanting interpretations that leave an indelible mark. While some may seek alternative renditions for the B minor Sonata, the album as a whole offers a captivating and enchanting journey through the depths of Chopin’s musical genius.

Carolyn Sampson and Joseph Middleton once again grace us with their celestial artistry in the ethereal realm of “Elysium: A Schubert Recital.” This otherworldly vocal disc delves into Schubert’s hauntingly beautiful songs, exquisitely themed around the afterlife. With an impeccable selection of compositions, Sampson and Middleton masterfully convey the enigmatic journey from this world to the next, leaving listeners mesmerized and captivated.

The journey commences with “Schwestergruss,” a poignant masterpiece where Sampson’s mellifluous voice intertwines with Middleton’s piano, painting a vivid picture of ghostly apparitions and benevolent spirits. This haunting atmosphere sets the stage for a transcendent voyage through the poetic verses of esteemed writers like Rückert, Schiller, and Goethe, all contemplating the mysteries of eternity.

Throughout the recital, the duo flawlessly captures the essence of Schubert’s vision, showcasing their profound connection with the music. “Auf dem Wasser zu singen” transports us to a dreamy world of water and waves, Sampson’s voice dancing effortlessly above Middleton’s delicate accompaniment. But what elevates their rendition is the subtle nod to the transient nature of life as the protagonist vanishes “from the flux of time,” adding an introspective layer to the enchanting melody.

Delving further into the ethereal realms, “Die junge Nonne” confronts the concept of death as a sanctuary from internal turmoil. Middleton’s evocative piano-playing conjures a sense of solace and reflection, while Sampson’s emotive delivery pierces the heart with every somber note.

A true gem awaits in the form of “An den Mond,” D259, wherein Sampson breathes life into Goethe’s verses, revealing the depth and emotions hidden within. The strophic music gently unfolds, serenading our souls with celestial wisdom. An unexpected treasure arises with “An den Mond,” D193, a gem from Schubert’s early years, showcasing his melodic prowess. Sampson and Middleton skillfully navigate through its intricate emotions, creating a resplendent auditory experience.

Sampson’s interpretations, uniquely influenced by the theme, transport listeners through different dimensions of the afterlife. “Elysium,” a piece filled with playful celestial visions akin to Mahler’s Symphony No. 4, infuses the recital with joyous wonder, transporting us to a heavenly haven.

On a transcendent level, Sampson’s vocal prowess and Middleton’s sensitive pianism mesmerize in “Nacht und Träume.” Sampson expertly navigates the shifting dynamics, intertwining the nocturnal imagery with a seamless legato line. In “Du bist die Ruh,” she gracefully builds tension through nuanced tonal shifts, drawing us closer to the essence of tranquility.

Carolyn Sampson and Joseph Middleton’s exceptional artistry crafts an enchanting symphony of voices and piano, inviting us to contemplate the mysteries that lie beyond our mortal realm. This bewitching recital stands testament to the duo’s boundless talent and their unwavering ability to transport listeners to Elysium’s celestial spheres.

Luka Faulisi’s debut album, “Aria,” is nothing short of extraordinary. At just 20 years old, this French-Serbian-Italian violinist has already earned high praise from the celebrated Israeli-American virtuoso, Pinchas Zukerman, who described Faulisi as having a “million-dollar sound.” After listening to this album, one can certainly understand why Zukerman’s endorsement is well-founded.

“Aria” features movements from both obscure and popular romantic operas, showcasing Faulisi’s remarkable talent and versatility. Collaborating with world-class pianist Itamar Golan, known for his association with Maxim Vengerov, the duo brings an unparalleled energy and spirit to the classical music repertoire.

One highlight of the album is the Carmen Fantasie: Prélude, which Faulisi performs with a dazzling display of technical prowess and an infectious sense of playfulness. This vivacious rendition challenges the notion that classical music must be overly serious and instead presents it as a delightful and thrilling experience.

Faulisi’s repertoire on this album is carefully curated, and each piece is delivered with utmost sensitivity and emotional depth. From the fervent and passionate rendering of Franz Waxman’s Carmen Fantasy, popularized by Jascha Heifetz, to the haunting beauty of Henryk Wieniawski’s Fantasia on Themes from Gounod’s ‘Faust,’ the listener is taken on a captivating journey through various operatic landscapes.

An unexpected gem on “Aria” is “Roxana’s Song” from Karol Szymanowski’s opera King Roger, arranged by Paul Kochanski. Faulisi’s heartfelt interpretation of this less-familiar piece reveals his ability to breathe new life into hidden gems of the classical music world.

The album also includes pieces such as Efrem Zimbalist’s fantasy on melodies from Rimsky-Korsakov’s fairytale opera Le Coq D’or and Leopold Auer’s arrangement of “Lensky’s Aria” from Tchaikovsky’s opera Eugene Onegin, all of which Faulisi performs with immense skill and maturity.

The emotional depth of Faulisi’s performance is most evident in the tender introduction to Gounod’s Faust. The sheer beauty of his phrasing and the heartfelt expression he brings to this piece alone make “Aria” a must-listen.

Beyond his technical brilliance, Faulisi’s command of Eastern European violin styles is particularly impressive, hinting at a seasoned musician performing well beyond his years. It is worth noting that he is currently a student of professor Pavel Berman at the Accademia Lorenzo Perosi in Biella, Italy, which makes his debut even more remarkable.

“Aria” is undeniably one of the strongest debuts in recent memory. Luka Faulisi’s performance is simply breathtaking, and he embodies the true essence of classical music with his lyrical phrasing and emotional resonance. This young violinist has a promising future ahead, and “Aria” is a testament to his immense talent and potential. Listening to this album is akin to witnessing a rising star in the classical music world, and it’s an experience worth cherishing. Faulisi indeed sounds like a million bucks, and his “Aria” is a triumphant celebration of his artistry.

In this breathtaking CD recording of Clara and Robert Schumann’s Piano Concertos, pianist Beatrice Rana and conductor Yannick Nézet-Séguin, together with the Chamber Orchestra of Europe, deliver an awe-inspiring musical journey that transcends time and touches the soul.

Clara Wieck’s Op. 7 Piano Concerto is a true gem, and Rana’s interpretation brings out the youthful brilliance and maturity of the composition. The opening Maestoso immediately commands attention with the orchestra’s rich, fulfilling sound, setting the stage for Rana’s exceptional performance. Her mastery of the thunderous octave passages is awe-inspiring, revealing a pianist of extraordinary technical prowess and artistic depth. But it is in the quieter moments that Rana truly shines, captivating listeners with her heartfelt rendition of the lyrical sections. The piano sings with a captivating bel canto quality at 1:13, infusing the music with a tender and melancholic charm that lingers in the heart. Rana’s seamless transition into the sprightly F major section is a testament to her musical finesse, making the listener feel as if they are witnessing a story unfold in real-time.

The Romanze is an enchanting movement that showcases Clara’s experimental harmonic genius, and Rana embraces the challenge with artistic maturity. Her piano creates a kaleidoscope of sonoric colors, bringing to life the various personalities of the music – from passionate and dreamy to contemplative and enigmatic. The dialogue between Rana and the cellist in the chamber-like duo is a testament to her remarkable musicianship, where she supports and weaves together with the cello, creating moments of breathtaking beauty.

As the Finale begins, Rana takes center stage with exhilarating intervallic runs and leaps that demand the utmost precision and dexterity. Her flawless technique shines through, leaving listeners in awe of her skill. The orchestra complements Rana’s vitality, adding a triumphant interlude at 4:28 that sets the heart racing with excitement and joy. The symbiotic relationship between the soloist and the orchestra creates a truly memorable and electrifying performance.

Turning to Robert Schumann’s Op. 54, Rana continues to display her versatility and artistic sensitivity. The opening dotted rhythms exude a sense of grandeur and majesty, although some may yearn for a touch more crispness in the figures. Nonetheless, Rana’s interpretation remains captivating, and her cadenza brings out the symphonic grandeur of the concerto’s most poignant moments.

The middle movement provides a delightful contrast, with Rana and the flute weaving together a delicate and enchanting tapestry of sound. The piano’s tone, mentioned earlier, adds to the allure, creating a sense of mesmerizing beauty throughout the movement. As the concerto reaches its Finale, Rana and the ensemble capture the dancelike rhythms with infectious gaiety. The suspenseful buildup toward the conclusion is masterfully managed, leaving listeners on the edge of their seats until the final, satisfying chord.

The CD also includes generous liner notes, featuring an insightful conversation between the artists and a concise but enjoyable musical analysis by Jed Distler. These additional materials enrich the experience, offering valuable insights into the concertos’ historical context and artistic nuances.

While the sound engineering is mostly commendable, there are moments in the Robert Schumann selection where it may sound slightly boomy or confined, but this minor quibble hardly detracts from the overall brilliance of the performances.

In conclusion, Beatrice Rana’s CD recording of Clara & Robert Schumann’s Piano Concertos, accompanied by Nézet-Séguin and the Chamber Orchestra of Europe, is a masterpiece of musical storytelling. Rana’s impeccable technique, artistic sensitivity, and emotional depth shine through, creating an unforgettable and transcendent musical experience. This recording is a must-have for classical music aficionados and newcomers alike, showcasing the enduring beauty and genius of these timeless piano concertos.

The Brodsky Quartet celebrated its remarkable 50th anniversary with “Golden Oldies,” a delightful CD featuring a selection of encore-style pieces specially arranged by the quartet members themselves. This release showcases the quartet’s enduring passion and creativity, delivering a captivating journey through a diverse repertoire.

From the very first notes, “Golden Oldies” exudes a sense of charm and affection. The opening piece, Scott Joplin’s “Solace,” arranged for string quartet by the quartet’s cellist Jacqueline Thomas when she was just 13, sets the tone perfectly. The quartet delivers the piece with a beguiling allure, displaying the impeccable chemistry that has been honed over five decades of making music together.

Adding to the enchanting atmosphere, Thomas offers quartet versions of two movements from Shostakovich’s “Five Pieces for Two Violins and Piano.” The second movement, performed with lightly worn wit and gracefulness, showcases the quartet’s profound understanding of the composer’s idiosyncratic style.

Violist Paul Cassidy shines as he places his wife, Jacqueline Thomas, in the spotlight with his elegant arrangement of Saint-Saëns’ “Les Cygnes.” This piece presents a unique twist, where two swans dance gracefully in the musical narrative. The collaboration between Thomas and Cassidy, both in their personal and musical partnership, yields a beautiful and emotive performance.

Cellist Laura van der Heijden joins the quartet, continuing their successful partnership from the outstanding recording of Schubert’s String Quintet. Van der Heijden’s talent and sensitivity come to the forefront in Cassidy’s arrangements of Debussy’s ‘Des pas sur la neige’ and Prelude No. 10 from Book 1 of Bach’s “Das wohltemperierte Klavier.” Her profound musicianship complements the quartet’s well-established rapport, resulting in deeply engaging interpretations.

Pianist Julian Jacobson makes a poignant appearance in a re-casting of Elgar’s “Adieu.” His touching contribution adds another layer of emotion and highlights the collaborative spirit of the ensemble.

The newest member of the quartet, first violinist Krysia Osostowicz, showcases her talent with effective quartet arrangements of three Gnossiennes by Satie. Her seamless integration into the Brodsky Quartet is evident, and her stylish playing further enhances the ensemble’s musical expression.

Throughout “Golden Oldies,” the Brodsky Quartet demonstrates a remarkable synergy that only comes from years of performing together. The recording captures the warmth and vitality of their live performances, making it a truly enjoyable and engaging experience for listeners.

 The quartet’s dedication to music and the enduring friendship among its members are evident in every note they play. With this splendid recital, the Brodsky Quartet paves the way for another exciting decade of music-making, and “Golden Oldies” is undoubtedly a treasure for both long-time fans and new listeners alike.

Cédric Tiberghien takes us on a captivating musical journey with his double-disc release, “Complete Variations” – the first installment in a series that explores the realm of variations from Sweelinck to Kurtág. While Beethoven serves as the focal point, Tiberghien’s inclusion of Mozart’s ‘Alla Turca’ Sonata, K331, and Webern’s Op. 27 raises intriguing questions about the program’s cohesion. Nevertheless, Tiberghien’s imaginative artistry and exquisite sound offer a banquet of surprises, setting the stage for what promises to be an enthralling series.

At the heart of this collection lie Schumann’s lesser-known Etudes in variation form on a theme by Beethoven. Though shrouded in uncertainty due to their incomplete nature, Tiberghien embraces their pianistic innovation, providing a glimpse into Schumann’s brilliance that resonates forward into the works of Rachmaninov. Similarly, Beethoven’s rarely heard Variations on ‘Kind, willst du ruhig schlafen’ and ‘Tändeln und Scherzen’ find a deserving place in Tiberghien’s hands, illuminating their unique charm and complexity.

A highlight of the collection emerges through Tiberghien’s introspective interpretation of Beethoven’s ‘Eroica’ variations. His nuanced approach invites listeners to delve into the intricate emotions woven within the variations, offering a fresh perspective on this familiar work. Equally enchanting are Beethoven’s Variations, Op. 34, which Tiberghien unfolds with a deft touch, revealing hidden depths beneath their surface.

The selection also offers a glimpse of Beethoven’s ingenuity in extracting captivating material from seemingly modest themes, as seen in the Variations on ‘Nel cor più non mi sento,’ which echoes the spirit of Diabelli. Tiberghien’s mastery allows these variations to shine brightly, showcasing the composer’s imaginative prowess.

The journey concludes with Schumann’s Ghost Variations, where Tiberghien delicately balances emotional depth and resilience. His performance captures the haunting essence of the piece, leaving a lasting impression that lingers in the mind long after the music fades.

While the inclusion of Mozart’s ‘Alla Turca’ Sonata and Webern’s Op. 27 might puzzle some listeners, they hint at a broader narrative that will likely unfold in subsequent volumes of the series. Tiberghien’s commitment to exploration and his impeccable pianism remain constants throughout, offering a tantalizing glimpse into the world of variations and setting high expectations for the journey that lies ahead.

Harmonia Mundi’s recording captures Tiberghien’s nuanced dynamics and expressive phrasing with remarkable clarity, allowing every subtlety of his performance to shine through. As the first step in what promises to be an illuminating series, “Complete Variations” introduces us to the enigmatic world of Beethoven and beyond, inviting us to join Tiberghien in his musical expedition.

Rachel Willis-Sørensen, the talented American soprano, presents her second solo album, following her debut titled “Rachel” released last year. Following her impressive debut with “Rachel,” the American soprano now immerses herself in the evocative world of Strauss, weaving a tapestry of vocal brilliance that leaves us utterly spellbound.

At the heart of this album lie the famous “Four Last Songs,” expertly interpreted by Willis-Sørensen. Her voice, a sublime instrument of lyricism, paints a rich and vivid soundscape, adorned with a myriad of colors that bring Strauss’ compositions to life. In particular, her rendition of “Im Abendrot” is simply breathtaking, evoking an emotional depth that resonates with the soul.

While Willis-Sørensen’s vocal prowess is truly remarkable, she navigates the higher registers with grace, infusing her artistry with an elegant and passionate phrasing. Though there are fleeting moments of openness in the higher notes, they hardly detract from the overall brilliance of her performance, revealing her exceptional control and expression.

In the final scene from “Capriccio,” Willis-Sørensen captivates us with her portrayal of a Countess, her aristocratic demeanor interwoven with raw passion. Drawing parallels to legendary sopranos like Renée Fleming, she masterfully captures the essence of the character, adding a touch of theatrical brilliance to the album.

The orchestral accompaniment, provided by the Gewandhaus Orchestra Leipzig under the baton of Andris Nelson, is nothing short of awe-inspiring. The orchestra’s intense and expressive rendering perfectly complements Willis-Sørensen’s luminous vocals. With an array of lush and resplendent moments intertwined with soul-stirring twilight tones, the ensemble truly captures the essence of Strauss’ mesmerizing compositions.

In “Four Last Songs,” Rachel Willis-Sørensen takes us on an unforgettable journey through Strauss’ evocative realm, unlocking the emotional depths of each piece. Her captivating artistry, combined with the Gewandhaus Orchestra’s powerful performance, makes this album an absolute treasure for any classical music connoisseur. Rachel Willis-Sørensen’s “Four Last Songs” is a striking display of her exceptional talent and profound connection with the masterful compositions of Richard Strauss. A must-have addition to any music collection, this album is an auditory delight that will leave you yearning for more, long after the final notes have faded away.