Swedish Radio Symphony Orchestra


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Berlioz: Roméo et Juliette, Op. 17

Berlioz: Roméo et Juliette, Op. 17

Ticciati has previously recorded Symphonie Fantastique, Les nuits d'été & La mort de Cléopâtre and L'enfance du Christ; the latter was named Gramophone's 'Top Choice' recording of this repertoire.

Ticciati and the SRSO are joined by the Swedish Radio Choir, a phenomenal ensemble and one of the best large-scale choruses in Europe, alongside featured soloists Katija Dragojevic mezzo-soprano, Andrew Staples tenor and Alastair Miles bass.

Roméo et Juliette was considered a pinnacle of French Romanticism and a brilliant example of Berlioz's orchestral mastery. The work is one of the most original conceptions of the nineteenth century: deftly poised between symphony and stage drama.

Robin Ticciati fully communicates the range of Berlioz's imagination; he brings an innate understanding of the romanticism of the music and succeeds in delivering a performance that is brimming with color.

“orchestrally superb...The sound pictures are precise and subtle...Katija Dragojevic is a gorgeously warm mezzo, and Alastair Miles a stentorian bass in the final Serment de réconciliation, but a boxy acoustic underbalances the chorus.” The Guardian, 11th September 2016 ****

“If freshness and vitality appeal more than sheer richness, try listening to this” BBC Music Magazine, November 2016 *****

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Berlioz: Symphonie Fantastique & Rameau: Suite de Hippolyte et Aricie

Berlioz: Symphonie Fantastique & Rameau: Suite de Hippolyte et Aricie


Symphonie fantastique, Op. 14


Hippolyte et Aricie: Orchestral Suite

A world might seem to divide the unbridled Romanticism of Berlioz from the highly controlled art of Rameau, standard-bearer of the French Late Baroque. And yet, at a distance of less than a century ('Hippolyte' was premiered in 1733, the 'Fantastique' in 1830), the same passion links two works more similar than their stylistic divergence might suggest. There is the same audacity in the orchestration, combined with an innate sense of drama that springs repeated rhythmic and harmonic surprises. The Swedish Radio Symphony Orchestra performs here a task requiring unusual versatility under their Music Director, Daniel Harding, establishing a dialogue between two very different pioneers.

Daniel Harding is also Principal Guest Conductor of the London Symphony Orchestra and Music Partner of the New Japan Philharmonic. He takes up the baton at the Orchestre de Paris -the first British maestro in the orchestra’s history - this September, 2016. He is Conductor Laureate of the Mahler Chamber Orchestra for life.

“Harding’s own Swedish Radio Symphony Orchestra are stylish in both. There’s some brazen playing to enjoy – the low brass in March to the Scaffold sound like a foghorn – but the impression of a lack of refinement is deceptive: the balance and pace are always tautly in check.” The Guardian, 1st September 2016 ****

“Daniel Harding’s gilt-edged Swedish Radio Symphony Orchestra…[find] exceptional detail and expressiveness in these searing readings of Berlioz’s Symphonie Fantastique and Rameau’s Hippolyte et Aricie suite. The Rameau is crisp and precise with venomous fire in its belly…the Berlioz is ripe, explosive and furiously exciting” The Scotsman, 3rd September 2016 *****

“I like the combination; the way it emphasises Rameau’s sense of colour and dramatic daring … an audacious coupling, I enjoyed it a lot, not just the idea but also the execution” CD Review, 27th August 2016

“the performance is a cracker. The Swedes play with a passion, swagger and relish for the grotesque that makes a nonsense of national stereotypes, and Harding’s attention to detail is exemplary without impeding the music’s drama” The Times, 16th September 2016 *****

“This is my new favourite Symphonie Fantastique on modern instruments, and it should be yours too … Everything sounds superb (sample the church bell in the last movement), and Harding knits everything together with an impressive sureness of intent ... Enormous fun.” The Arts Desk, 1st October 2016

“the key seems to lie in the really very surprising string tone that Harding draws from his Swedish orchestra in both works. They have an acidic edge in the Rameau, which reminds you of the period specialists, but Harding’s masterstroke is to carry this on into the Berlioz, creating an utterly distinctive soundworld for the Symphonie Fantastique … fascinating on both a musical and an intellectual level” MusicWeb International, October 2016

“vibrant, pointed, stylish Rameau…more massive than our ears are used to but still quick on its feet … Harding’s Berlioz is resilient, pliant, conducted with a temporal freedom that always seems ambitious but ends up feeling electrifyingly right … Turn from Harding to his current peers – perhaps even to Charles Munch or Igor Markevitch – and it’s like going from IMAX cinema to living-room black-and-white.” Gramophone Magazine, October 2016

“an arresting juxtaposition … Smart work from the uncredited harpsichordist and taut direction by Daniel Harding anchor the Swedish Radio Symphony Orchestra’s performance of the suite from Hippolyte et Aricie … With vibrato selectively applied, Harding’s Symphonie Fantastique rivals Philippe Herreweghe’s in its translucency, yet he has a Mahlerian quality, at once highly detailed and expansive.” BBC Music Magazine, December 2016 ****

“The dances from Rameau’s Hippolyte et Aricie are sprightly in rhythm and crisp in articulation. The overall effect is one of highly sculpted music-making, though not without moments of impressive, full-bodied vehemence. The Berlioz is volatile, with Harding relishing the surprises that come from his refusal to smooth out rough edges.” The Irish Times, 19th October 2016

“a crisply enunciated, stylistically credible performance, from artistically deployed harpsichord continuo to the last double dot … be privileged to hear Harding commanding a detailed instrument-by-instrument understanding of Berlioz’s scoring, expressive and dynamic markings meticulously detailed and enthrallingly expounded to form an awesome aural portrait of the ‘heroics’, terrors and ‘poetics’ pervading this extraordinary work.” Classical Ear, 4th November 2016

GGramophone Magazine

Editor's Choice - October 2016

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Brahms: Piano Concerto No. 1 & Ballades Op. 10

Brahms: Piano Concerto No. 1 & Ballades Op. 10


Piano Concerto No. 1 in D minor, Op. 15

Swedish Radio Symphony Orchestra, Daniel Harding

Ballades (4), Op. 10

Paul Lewis (piano)

Read Presto's complete review of this disc here

Innovative for its time, Brahms’s Piano Concerto no.1, premiered in Hanover in 1859, took some time to become established in the repertoire. It is a work that redefined the norms of the genre: the traditional confrontation between virtuoso soloist and orchestra is bypassed in favour of a balanced treatment and a more ‘symphonic’ approach. The 'Ballades' too derive from the impetus towards a renewal of forms, characteristic of the young Brahms’s output.

“His account has clarity, muscle and steely pride, but also intimacy, vulnerability and volatility: the combination is magnetic. Conductor Daniel Harding goes for full-out symphonic bulk from the start and his Swedish orchestra sounds hearty and brooding – fuzzier-edged than Lewis’s metallic attack, but generally the partnership works.” The Guardian, 7th April 2016 ****

“His playing in Brahms’s Piano Concerto No. 1 disdains romantic heroics in favour of poise and proportion, fine judgment and the purest of trills. The risk is that he sounds aloof from the mighty battles being waged in the orchestral part, performed with romantic sweep and a lot of darkly portentous bass lines by the Swedish Radio Symphony Orchestra conducted by Daniel Harding.” Financial Times, 8th April 2016

“Lewis’s richly evocative account of the early Ballades shows that, at 21, Brahms was already himself. So he was (despite its protracted birth pangs) in the marvellous concerto. Lewis is equal to its challenges ... the captivating F major passage, after the fugato, is a delight, and the Swedish woodwind play expressively for Harding.” Sunday Times, 10th April 2016

“Lewis shows himself thoroughly prepared for the power, the emotional turmoil and the radical vision that Brahms unleashed in his First Concerto … Lewis too enjoys a productive partnership with the Swedish Radio Symphony Orchestra, conducted with passion and intensity by Daniel Harding.” The Telegraph, 16th April 2016

“[a] wonderful combination of the statuesque and finesse, [the] recording encompasses it beautifully.” CD Review, 16th April 2016

“The sound is big, wholesome, thrilling, even appropriately terrifying...Lewis’ approach is always integral, powerful yet unpretentious. He evokes every nuance of expression contained in this all-embracing concerto...Brahms’ four Ballads, Op. 10, form a beautiful counterbalance, Lewis evoking their essential sensuousness and beauty.” The Scotsman, 18th April 2016

“Harding has opted for an intensely dramatic reading of this piece, with plenty of Sturm und Drang on offer...the way Lewis gently but assertively glides in, almost as if he has actually been playing all along but it's only now that he has decided to make us aware of his presence, is a great moment, and sets the tone for his entire performance...As in the concerto, the range of colours that Lewis offers us in the Four Ballades is quite something.” James Longstaffe, Presto Classical, 15th April 2016

“The Swedish Radio Symphony, under Daniel Harding’s expert baton, distinguish themselves. The wind band, plangent and exquisitely blended, floats effortlessly above a string choir of almost embarrassing luxuriousness…Lewis is pervasively lyrical in the concerto [and] the beauty of his sound is evident throughout…for a Brahms D minor Concerto of manifold beauties this account could scarcely be bettered” Gramophone Magazine, May 2016

“[Lewis and Harding] encapsulate the contrasting moods of defiance and lyricism without indulging in unwarranted touches of rubato or having to negotiate awkward gear changes…Lewis brings all the requisite power to the ‘sturm and drang’ octaves and trills, but maintains flow and a wonderful feeling for inner voicing in the chorale theme…memorable” BBC Music Magazine, June 2016 *****

“Harding doesn’t hesitate, unequivocally conducting a majestically broad, imperiously thrusting but malleable exposition, its end quietly tapered for Paul Lewis’s poetic entrance...Here is mutually crafted musicianship … [with] Lewis’s insightful interpretations of the multi-faceted beauties that are the Ballads closing the disc.” Classical Ear, 4th May 2016

“This pianist’s light fluent touch is a delight, as is the orchestra’s often fleet playing … Paul Lewis’ innate musicianship always shines through in this beautifully thought out performance, impressive in its restrained power … This is a formidable Brahms disc from Lewis.” The Classical Reviewer, 8th May 2016

“It’s thrillingly played, excitingly conducted and full of both power and beauty, making it the best Brahms 1 we’ve had since Zimmerman and Rattle in Berlin (review), as well as Lewis’ best disc for a while, too.” MusicWeb International, June 2016

Presto Disc of the Week

15th April 2016

Presto Discs of 2016


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Erland von Koch: Symphonies Nos. 3 and 4

Erland von Koch: Symphonies Nos. 3 and 4

Koch, E von:

Symphony No. 3, Op. 38

World Premiere Recording

Sinfonia seria (Symphony No. 4), Op. 51

World Premiere Recording


Nordic Capriccio

During a long and active life Erland von Koch (1910-2009) became one of Sweden’s best-loved composers, describing his artistic goals as follows: ‘I aim for a simple, clear, melodic style, often with elements of folk tone and with a definite rhythmic profile... The older you get, the more aware you become of the importance of melody.’ One of von Koch’s most frequently performed orchestral works is Nordiskt capriccio, which was inspired by a folk tune from Dalecarlia, and which forms the festive finale on the present disc. The compositions which precede it are less well known. They include Impulsi (the first part of a triptych later completed with the works Echi and Ritmi) whilst the two symphonies 3 and 4 appear for the first time on disc. In Symphony No. 3, influences from Bartók and Hindemith can be detected; composed in 1948, it is a work which in its thematic material contrasts defiance with lyricism and, finally, a feeling of release. Sinfonia seria, von Koch’s fourth work in the genre, followed a few years later, undergoing a final revision in 1962. As indicated by the title, the underlying mood of the work is grave and bittersweet. With this disc, the Swedish Radio Symphony Orchestra and conductor Per Hammarström are making their case for a hoped for, and long overdue ‘discovery’ of Erland von Koch’s symphonies.

“Per Hammarström, in his first recording, secures a performance [of the Nordic Capriccio] that is if anything the tautest yet and wrings even more warmth from the lyrical second subject [than any competitor]…the main part of the disc is given over to premiere recordings of the neo-classical Third and Fourth Symphonies…all four works [on the disc] are hugely attractive and idiomatically played, and I recommend this disc unreservedly” Gramophone Magazine, April 2016

“Dark undercurrents swirl in both symphonies, moments of unsettling beauty juxtaposed with passages of fidgety rhythmic energy…Hammarström balances the orchestral sound judiciously, with wind lines and the all-important percussion coming through clean and clear against lean, expressive strings” BBC Music Magazine, July 2016 ****

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Dorothea Röschmann sings Mozart Arias

Dorothea Röschmann sings Mozart Arias


Oh smania! oh furie!...D'Oreste, d'Aiace (from Idomeneo)

Deh, se piacermi vuoi (from La clemenza di Tito)

Porgi amor (from Le nozze di Figaro)

E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Solitudini amiche ... Zeffiretti lusinghieri (from Idomeneo)

Ecco il punto...Non più di fiori vaghe catene (from La clemenza di Tito)

Bella mia fiamma, addio... Resta, oh cara, K528

20 years after her critically acclaimed début at the Salzburg Festival as Susanna In Mozart’s Le Nozze Di Figaro, Dorothea Röschmann releases her first solo Mozart album, including famous arias from Don Giovanni and Le Nozze Di Figaro. Dorothea Röschmann is in the prime of her voice and referred to "as one of the leading Mozart sopranos today“ (Der Tagesspiegel). The CD track list not only reflects her at her glorious best, but is also a dream come true for Dorothea: “Mozart is the reason I wanted to do opera,” she says. “To be able to embody Mozart figures on stage, that was my dream. His characters are real human beings, with sadness and joy and wit. It’s the whole picture that you get. It sounds strange, but signing Mozart really is a dream come true.” (Dorothea Röschmann in interview with the Guardian). The album is recorded with the Swedish Radio Symphony Orchestra, conducted by their music director Daniel Harding.

“Röschmann, in her late forties, is at the height of her powers, with a strong voice which she can rein in, and without the coy pecking that German sopranos have often indulged in in Mozart. The trouble is that she is so winning an artist that almost all the arias made me want to listen to the complete opera from which they come, with her in the relevant role.” BBC Music Magazine, January 2016 ****

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Arvo Pärt - Musica Selecta

Arvo Pärt - Musica Selecta

A Sequence By Manfred Eicher


Es Sang vor Langen Jahren for alto, violin & viola

Susan Bickley (mezzo-soprano), Gidon Kremer (violin), Vladimir Mendelssohn (viola)

Für Alina

Alexander Malter (piano)

Mein weg hat Gipfel und Wennentaler

Tallinn Chamber Orchestra, Tönu Kaljuste

Ode VI, from Kanon pokajanen

Estonian Philharmonic Chamber Choir, Tönu Kaljuste

Silouans Song

Tallin Chamber Orchestra, Tönu Kaljuste

Fratres for Violin & Piano

Gidon Kremer (violin), Keith Jarrett (piano)

Alleluja Tropus for choir and string orchestra

Vox Clamantis

Sinfonietta Rīga, Tönu Kaljuste


Saulius Sondeckis (violin/conductor)

Lithuanian Chamber Orchestra

Beatus Petronius

Latvian Radio Choir

Sinfonietta Rīga, Tönu Kaljuste

Pilgrims' Song

Swedish Radio Choir

Swedish Radio Symphony Orchestra, Tönu Kaljuste

Most Holy Mother of God

The Hilliard Ensemble

Cantus in memoriam Benjamin Britten

Staatsorchester Stuttgart, Dennis Russell Davies


Estonian Philharmonic Chamber Choir

Tönu Kaljuste

Festina Lente

Orchester der Beethovenhalle Bonn, Dennis Russell Davies


Alexei Lubimov (piano)

SWR Radio Symphony Orchestra, Andrey Boreyko

Stabat Mater

Lynne Dawson (soprano), David James (counter-tenor), Rogers Covey-Crump (tenor), Gidon Kremer (violin), Vladimir Mendelssohn (viola), Thomas Demenga (cello)

Da pacem Domine

Estonian Philharmonic Chamber Choir

Tallinn Chamber Orchestra, Tönu Kaljuste

Composer Arvo Pärt and producer Manfred Eicher have maintained their creative partnership for more than 30 years. Eicher launched ECM New Series in 1984 as a platform for Pärt's music, bringing the Estonian composer to the world's attention with 'Tabula Rasa'. Since that epochal release, all first recordings of Pärt's major works have been made for ECM, with the composer's committed participation.

In this special double album, issued on Pärt's 80th birthday, Eicher revisits episodes from their shared musical quest, evoking fresh associations from juxtapositions of pieces in his dramaturgical sequence, as listeners are invited to hear the music anew. Compositions heard here include the legendary ECM premiere recordings of Es sang vor langen Jahren, Für Alina, Mein Weg, Kanon Pokajanen, Silouans Song, Fratres, Alleluia-Tropus, Trisagion, Beatus Petronius, Wallfahrtslied/Pilgrims' Song, Cantus in Memory of Benjamin Britten, Magnificat, Festina Lente, Lamentate, Stabat Mater, Da Pacem Domine, and a previously unreleased version of Most Holy Mother of God.

As for the performers, documentation of Pärt on ECM started with the recording of Fratres with Gidon Kremer and Keith Jarrett joining forces for the only time and has expanded to embrace many musicians who have, in turn, become closely associated with Pärt's music. These have included the Hilliard Ensemble, the British vocal group whose pure approach to early music was to prove eminently adaptable to Pärt's timeless oeuvre.

"My contact with ECM is beyond categorization," Arvo Pärt has said. "It is a natural supplement to my composing. Manfred Eicher's instrument is sound, acoustics, the sounding space which can be heard only by him. He hears in a special way and his records are a result of this hearing. What I call a piece of art made by Manfred is actually a rich and sensitive complex of hearing, thinking, feeling, taste and artistic skill, a whole philosophy. It is also something very lively and in continuous formation. Our work together making new records is always a celebration."

“For this excellent two-CD compendium, the producer Manfred Eicher has selected pieces from the recordings he has made over the past 30 years. It’s a perfect introduction to Pärt’s work, ranging from global hits...to lesser-known and more recent pieces.” The Times, 25th September 2015 ****

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Martin Fröst: Nordic Concertos

Martin Fröst: Nordic Concertos


Introduction and Variations on a Swedish Air Op. 12

Östgöta Symphonic Wind Ensemble, Arie van Beek


Clarinet Concerto (Peacock Tales)

Swedish Radio Symphony Orchestra, Esa-Pekka Salonen


Concerto No. 3, Op. 21, for clarinet & orchestra

Aalborg Symphony Orchestra, Owain Arwel Hughes


On a Distant Shore (Concerto for clarinet and orchestra)

Swedish Chamber Orchestra, Petter Sundkvist

Martin Fröst (clarinet)

Testifying to the multi-facetted talent of Martin Fröst as well as to the different responses that the clarinet has awakened in composers over the years, the present compilation brings together four concertante works in recordings that have all been previously released on separate discs.

The opening work, Fröst’s fellow-Swede Anders Hillborg’s Peacock Tales, is the longest of the four, as well as being something of a calling card for Fröst; it was composed specifically for him in 1998.

Bernhard Crusell, active during the beginning of the 19th century, is today mainly known for his clarinet concertos and clarinet quartets. Here Martin Fröst’s clarinet jauntily guides us through one of his earliest works: Introduction, Theme and Variations on a Swedish Air – the air in question being a drinking song popular at the time.

“Martin Fröst displays versatility and staggering virtuosity: eventful Anders Hillborg, assertive Holmboe, atmospheric Karin Rehnqvist and jolly Crusell.” BBC Music Magazine, Awards Issue 2015

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Piano Sonata No. 17 in D minor, Op. 31 No. 2 'Tempest'

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Swedish Radio Symphony Orchestra & Choir, Esa-Pekka Salonen

Corigliano, J:

Fantasia on an Ostinato



Swedish Radio Symphony Orchestra & Choir, Esa-Pekka Salonen

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Bartók: Violin Concertos Nos. 1 & 2

Bartók: Violin Concertos Nos. 1 & 2


Violin Concerto No. 1, BB48a, Sz 36

Violin Concerto No. 2, Sz 112

Isabelle Faust's first recording for harmonia mundi, Bartok Sonatas, won her a Gramophone Young Artist of the Year.

Here she returns to Bartok, perfoming the two concertos, accompanied by Daniel Harding and the Swedish Radio SO.

Such is the fame of Bartók’s Second Violin Concerto (1937-38), that it has virtually eclipsed the First, written 30 years before. Yet, this earlier work, rediscovered long after the composer’s death, has a fascinating story all of its own. True to form, Isabelle Faust has gone back to the multiple musical sources of this First Concerto, a work that came ‘straight from the heart’, as Bartók’s romance with a young violinist lay at the core of its creative process.

"I owe my enthusiasm for the music of Béla Bartók to the wonderful Hungarian violinist Dénes Zsigmondy, who was privileged to know the composer personally. At the age of eleven, I was lucky enough to study the Sonata for solo violin with him and thus to discover Bartók’s world in a very emotional and instinctive way. In the years since then, Dénes Zsigmondy, his conception of music, and especially his interpretation of Bartók have formed an important component of my artistic career. It seemed only logical to choose the Bartók sonatas for my debut CD. I am now delighted to present the two violin concertos in this recording. It is intended as a musical expression of my admiration for the composer Béla Bartók and my gratitude for the continued inspiration and faithful friendship of Dénes Zsigmondy. My warm thanks go to László Somfai and László Vikárius of the Bartók Archives in Budapest and to Felix Meyer of the Paul Sacher Foundation in Basel for their generous support of this project. Finally, I would like to express my profound appreciation of and indebtedness to Daniel Harding and the Swedish Radio Symphony Orchestra for their absolutely fantastic contribution to the recording sessions." Isabelle Faust

Read Presto's complete review of this disc here.

“Faust...relishes i[the First's] warmth and volatility while respecting its musical integrity. The second concerto exemplifies Bartók’s mature synthesis of traditional and modern styles. I do not share leading violinists’ faith in its greatness, but Faust puts her unshowy brilliance at its service.” Financial Times, 27th July 2013 ***

“Faust finds an ideal tonal pungency to voice the folk-like intonations, whether fiery or wistfully fragile, which she allies to a natural sweetness and flexibility of timbre and phrasing. The orchestra is a potent force, too, in underpinning the rhythms and radiating colour. A compelling disc.” The Telegraph, 1st August 2013 *****

“Faust plays with sweet ecstasy in the passionate first movement [of No. 1], lyrically opulent enough to suggest Richard Strauss. She’s equally impressive in the puckish second movement, kicked into life by gawky solo notes played without vibrato — one of her research discoveries...Music to cherish.” The Times, 8th August 2013 ****

“probably the most beautiful and subtly nuanced version [of No. 1] available. The same intelligence is very much at work in the second concerto...Harding, sometimes a variable Bartókian, is clean, committed and incisive here. Make sure you read Faust's own essay in the sleevenotes: she writes about Bartók as persuasively as she plays him.” The Guardian, 8th August 2013 *****

“[Harding and the orchestra] bring a glittering, sometimes gritty edge to Bartok’s scoring — and underscore her detailed readings of this deeply felt, violently passionate music. In Faust’s powerful performance, the long solo of the first concerto’s opening andante sostenuto sounds like a lament for lost love” Sunday Times, 11th August 2013

“Faust resists the kind of full-blown romantic ardour that might seem appropriate to music inspired by a protracted love affair. Instead she weaves her sinewy melodic line in a more introverted manner...The effect is totally magical...[in the Second Concerto] Fausts draws you into the ebb and flow of the musical narrative” BBC Music Magazine, September 2013 *****

“Faust negotiates the composer’s idealised fantasising with a poetic sensitivity that captures the almost cinematic cut-and-thrust of the music’s churning emotions… She finds the perfect match in Daniel Harding’s lucid accompaniments and sound of exceptional textural transparency.” The Strad, September 2013

“it’s to the credit of Faust and Harding that this compelling, elusive music never feels shapeless, and the livelier second movement is cheeky, gutsy and pungent. Beautifully recorded, and Faust’s self-penned sleeve notes make fascinating reading.” The Arts Desk, 31st August 2013

“everything registers in this richly conceived performance” International Record Review, September 2013

“solo playing of sensitivity and playfulness and an orchestral sound that fits it like a hand to a glove...This disc is a winner. The sensitivity of the playing and the empathy of the orchestral accompaniment put it in a very special class which is worthy of comparison with any other set in the catalogue.” MusicWeb International, 18th September 2013

“Faust combines technical brilliance with a performance full of bite and character. Wide-ranging dynamics are not just well defined by loud and soft, but by distinct textural variety...here seems to be a natural affinity with Daniel Harding and his orchestra, who offer vivid accompaniment throughout and no shortage of incisive rawness of their own where required.” Chris O'Reilly, Presto Classical, 15th July 2013

Presto Disc of the Week

15th July 2013

GGramophone Awards 2014

Finalist - Concerto

GGramophone Magazine

Editor's Choice - Awards Issue 2013

BBC Music Magazine Awards 2014

Concerto Finalist

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Matthias Goerne Sings German Arias

Matthias Goerne Sings German Arias


Wir arme Leut! (from Wozzeck)

Dort links geht's in die Stadt (from Wozzeck)

with Dorothea Röschmann (soprano)


Verdorben! Gestorben! (from Königskinder)

Children’s Choir from Adolf Fredriks Music School


Mein Sehnen (from Die tote Stadt)

Ladies of the Swedish Radio Choir


Der Vogelfänger bin ich, ja (from Die Zauberflöte)

Bei Männern, welche Liebe fühlen (from Die Zauberflöte)

with Dorothea Röschmann (soprano)

Ein Mädchen oder Weibchen (from Die Zauberflöte)

Hai gia vinta la causa! (from Le nozze di Figaro)

Crudel! perché finora farmi languir così? (from Le nozze di Figaro)

with Dorothea Röschmann (soprano)

Deh! vieni alla finestra (from Don Giovanni)


Szenen aus Goethes Faust: Ein Sumpf zieht am Gebirge hin

Strauss, R:

Harlekinlied (from Ariadne auf Naxos)

with Dorothea Röschmann (soprano)


Blick ich umher in diesem edlen Kreise (from Tannhäuser)

Wie Todesahnung...O du, mein holder Abendstern (from Tannhäuser)

‘Operatic justice’, writes J.B. Steane in his informative and amusing note for this album, ‘is a law unto itself, and the baritone has been prominent among its victims. Unlucky in love, he is seen in the most favourable light as a father-figure and is otherwise all too often the villain of the piece. He may be manly but is rarely heroic. He will have his arias, his moments of glory, yet (uncannily, it must seem to him) their place is rarely at the centre of the opera, or for that matter, part of its last-act climax.’

Beginning with a bracket of Mozart arias, this colourful recital, recorded by Matthias Goerne in 2000, takes us through the terrains of mid- and late-19th century opera – Wagner, Humperdinck, Richard Strauss – to the early 20th-century with the moving ‘Mein Sehnen, mein Wähnen’ from Korngold’s Die tote Stadt, to two brief excerpts from Berg’s Wozzeck.

Matthias Goerne both works within the tradition and extends it. Like his predecessors, from Schlusnus to Fischer-Dieskau, he has developed his careers in opera and song side by side, though it is true that his fame and hitherto his work as a recording artist have centred less on opera than on Lieder and oratorio. His operatic recording debut was spotted by Gramophone magazine and described as ‘an impressive appearance’, as Prometheus in the large cast of Braunfels’s Die Vögel.

“he is heart-rending in the Tannhauser extracts, dancing in the Korngold and moving as Berg's Wozzeck.” BBC Music Magazine, December 2012 ****

“[Goerne’s] powerful Count [makes for] a strong, wilful presence … Faust's solo from the end of the second part of Schumann's work, the Spielmann's lovely piece from the close of the Humperdinck and the aria from Die tote Stadt are all sung with feeling and beauty, especially the Korngold, which is wholly beguiling, the real piece of gold in this programme.” Gramophone Magazine

“This is a voice with a honeyed, mellow beauty right through its range, and considerable power when needed’” MusicWeb International

Australian Eloquence - ELQ4805770



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