Antonio Pappano

Conductor

Antonio Pappano

Conductor Antonio Pappano has made something of a specialism of conducting opera, in particular Italian opera. His conducting debut was at the Norske Opera and he has since been music director at La Monnaie, the Belgian Royal Opera House and, most recently, Covent Garden. His recordings of Puccini's Madama Butterfly, Rossini's Guillaume Tell and Verdi's Requiem, to name just three, have won him awards and critical plaudits galore.

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Saint-Saens: Organ Symphony & Carnival of the Animals

Saint-Saëns: Organ Symphony & Carnival of the Animals


Saint-Saëns:

Symphony No. 3 in C minor, Op. 78 'Organ Symphony'

Daniele Rossi (organ)

Antonio Pappano

Le carnaval des animaux

Martha Argerich (piano) & Antonio Pappano (piano)

Le carnaval des animaux

Bonus: Version with French narration accessible via a unique download code printed on CD insert card

narrated in French by Annie Dutoit (Martha Argerich’s daughter)


Martha Argerich and Antonio Pappano (as pianist rather than conductor) lead the fun in Saint-Saëns’ Carnival of the Animals with Members of the Orchestra dell'Accademia Nazionale di Santa Cecilia. The entire orchestra assembles under Pappano’s baton for another of Saint-Saëns’ most celebrated works, the magnificent ‘Organ’ Symphony, No 3.

The pianists are perhaps the most exotic of all the creatures in the Carnival of the Animals. A very rare and treasurable pairing has been made by Warner Classics for this new recording of Saint-Saëns’ enchantingly witty suite: Martha Argerich, often described as the world’s finest example of the pianist species, and Antonio Pappano, a particularly fine specimen of the conductor-pianist.

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Puccini: Tosca

Puccini: Tosca


Angela Gheorghiu (Floria Tosca), Roberto Alagna (Mario Cavaradossi), Ruggero Raimondi (Baron Scarpia), Maurizio Muraro (Cesare Angelotti), Enrico Fissore (The sacristan), David Cangelosi (Spoletta) & Sorin Coliban (Sciarrone)

The Royal Opera House Chorus & Orchestra, Covent Garden & The Tiffin Boys Choir, Antonio Pappano

Set Design Sylvain Chauvelot

Costume Desgin Christian Gasc

Tosca – the epitome of Italian opera. It is a thrilling story about desire, passion and death. A story about one beloved woman and two men, who fight a duel – one of them is an angel and the other one a demon. Benoît Jacquot, the successful French film director, does not create a stage performance but an opera for the cinema in 2001. A bold idea and an exciting venture – he loves his actors, the close-up shots and he has developed his own style as it turned out in many other of his films before. The result is a wonderful production of one of Puccini’s greatest operas with an amazing set design, beautiful costumes and an emotional performance by Angela Gheorghiu and Roberto Alagna, the opera dream couple at that time, in the main roles and Ruggero Raimondi as counterpart.

Sound Format: PCM Stereo, DTS-HD Master Audio 5.1

Picture Format: 16:9

UltraHD 66GB / Blu-ray Disc 25GB (Single Layer)

Running Time: 125 mins

Resolution: 4k (Ultra HD) | 1080i Full HD (Blu-ray)

Subtitles: DE, FR, EN, IT, ES, KOR

FSK: 6

Region Code: 0

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Arthaus Musik - 109293

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Rossini: Guillaume Tell

Rossini: Guillaume Tell


Gerald Finley (Guillaume Tell), Malin Byström (Mathilde), John Osborn (Arnold Melchtal), Sofia Fomina (Jemmy), Nicolas Courjal (Gesler), Alexander Vinogradov (Walter Furst), Enkelejda Shkosa (Hedwige), Eric Halfvarson (Melcthal), Michael Colvin (Rodolphe), Samuel Dale Johnson (Leuthold), Enea Scala (Ruodi)

Royal Opera Chorus & Orchestra of the Royal Opera House, Antonio Pappano (conductor) & Damiano Michieletto (director)

Rossini’s final opera helped to lay the foundations of the genre of French grand opéra that dominated European stages throughout the mid-19th century. The opera’s theme is liberty, as exemplified in the struggle against Austrian occupation led by the Swiss archer and patriot Guillaume Tell: in the opera’s most famous scene, Tell shoots an apple from his son’s head, a feat that inspires his countrymen to revolt.

Rossini’s score, here performed in its original French, is one of his most outstanding and packed with glorious arias, choruses and ensembles. The exciting young Italian director Damiano Michieletto makes his Royal Opera House debut with a spectacular and thought-provoking production.

Subtitles: EN/FR/DE/JP/KO

Running time: 216 minutes

Sound format: LPCM & DTS Master Audio 5.1

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DVD Video

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Format: NTSC

Opus Arte Royal Opera House Collection - OA1205D

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Rossini: Guillaume Tell

Rossini: Guillaume Tell


Gerald Finley (Guillaume Tell), Malin Byström (Mathilde), John Osborn (Arnold Melchtal), Sofia Fomina (Jemmy), Nicolas Courjal (Gesler), Alexander Vinogradov (Walter Furst), Enkelejda Shkosa (Hedwige), Eric Halfvarson (Melcthal), Michael Colvin (Rodolphe), Samuel Dale Johnson (Leuthold), Enea Scala (Ruodi)

Royal Opera Chorus & Orchestra of the Royal Opera House, Antonio Pappano (conductor) & Damiano Michieletto (director)

Rossini’s final opera helped to lay the foundations of the genre of French grand opéra that dominated European stages throughout the mid-19th century. The opera’s theme is liberty, as exemplified in the struggle against Austrian occupation led by the Swiss archer and patriot Guillaume Tell: in the opera’s most famous scene, Tell shoots an apple from his son’s head, a feat that inspires his countrymen to revolt.

Rossini’s score, here performed in its original French, is one of his most outstanding and packed with glorious arias, choruses and ensembles. The exciting young Italian director Damiano Michieletto makes his Royal Opera House debut with a spectacular and thought-provoking production.

Subtitles: EN/FR/DE/JP/KO

Running time: 216 minutes

Sound format: LPCM & DTS Master Audio 5

Released or re-released in last 6 months

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Opus Arte Royal Opera House Collection - OABD7195D

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Anna Netrebko: Verismo - Vinyl Edition

Anna Netrebko: Verismo - Vinyl Edition


Boito:

L'altra notte in fondo al mare (from Mefistofele)

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Cilea:

Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur)

Giordano, U:

La mamma morta (from Andrea Chénier)

Leoncavallo:

Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci)

Ponchielli:

Suicidio! (from La Gioconda)

Puccini:

Un bel di vedremo (from Madama Butterfly)

Signore, ascolta! (from Turandot)

Vissi d'arte (from Tosca)

In questa reggia (from Turandot)

In quelle trine morbide (from Manon Lescaut)

Manon Lescaut: Act IV


The “Diva Assoluta del Mondo” (Opera News) is back, as you have never heard her before!

With VERISMO Anna Netrebko presents her long-awaited new studio album – the first in three years – displaying her remarkable vocal maturity and reaffirming her status as one of the leading sopranos of her generation.

For Anna Netrebko herself, it was the obvious next step; for her public it promises to be a revelation. The challenging verismo repertoire offers a fascinating portrait of Netrebko’s voice in its full maturity. Having reached the latest peak in an already sensational career, the soprano continues her vocal and artistic development in logical fashion, illuminating the stylistic and psychological complexities of verismo with her own special intensity and powers of expression.

Set to be one of the most important and anticipated classical releases of 2016.

VERISMO features Netrebko in the greatest, most irresistible hits of the Grand Italian repertoire of the fading 19th Century, with arias by Puccini, Leoncavallo, Ponchielli, Boito, Giordano, Catalani.

Showcasing brand new interpretations of some of the greatest and most popular opera arias of all time.

A winning classical music team – Anna Netrebko and Sir Antonio Pappano – now joined on record for the very first time by her husband and tenor Yusif Eyvazov.

Anna Netrebko has reached the heart of the rich, mature dramatic repertoire that allows her to showcase the sheer beauty, endless, wide range of colours and emotion in combination with her distinct and beloved timbre that sets her apart from any other artist, past or present. In many ways this album is a self-discovery for this unique artist, and is destined to reach Anna’s widest fan-base.

Verismo at the turn of the last century introduced "real life" experience to opera and left behind the romantic approach of Belcanto. Netrebko’s recent performances of Verdi’s “Macbeth” and “Il Trovatore" but also her role debut of "Manon Lescaut" in March 2014 in Rome, have shown that Netrebko is able to combine the most beautiful sound production with the harsh, sometimes brutal and scary reality of those heroines she is awaking to life for us.

“all sung with plenty of voice and abandon...when she settles into a long extract from Puccini’s Manon Lescaut, with tenor husband Yusif Eyvazov and Antonio Pappano conducting, the recital hits an impressively impassioned peak.” Financial Times, 26th August 2016 ****

“Everything’s sung with no-holds-barred abandon and emotional commitment...there’s strength and sweetness aplenty, aided by idiomatic detailed and often superbly delicate support from Pappano and his Roman orchestra...Like Cleopatra, Netrebko ‘makes hungry where she most satisfies’, and I can’t wait to see where she goes next with this repertoire.” Presto Classical, 2nd September 2016

“The results are nothing short of magnificent. In familiar excerpts by Cilea, Giordani, Puccini and more, Netrebko deploys her increasingly dark and weighty vocal tone, along with the expressive fervor that has always been a hallmark, to produce readings that excite and delight the listener.” San Francisco Chronicle, 1st September 2016

“[Manon Lescaut], along with the Riddle Scene from Turandot, is Netrebko close to her best. she could declaim the text more incisively, but there is no denying the glory of her voice, more “fleshy” in timbre and exciting at the top, or its suitability for Puccini’s Tosca and Butterfly. Pappano’s deluxe accompaniments are sumptuously played.” Sunday Times, 4th September 2016

“Extracts from 10 operas show her voice reaching an exciting maturity, its increased weight matched by even more gleam, fizz and expressive projection. She has yet to sing most of these roles on stage, but inhabits them convincingly...Pappano is, as ever, the ideal supportive conductor, and the orchestra plays as if it loves Netrebko’s every note.” The Guardian, 15th September 2016 ****

“her rich, dark chocolate and red wine tone is the main sell here, along with her satisfyingly growly low register and wall-shaking (even through your home speakers) top notes...Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia also go full pelt, swaggering, moody and full-blooded throughout.” The Times, 26th August 2016 ****

Presto Disc of the Week

2nd September 2016

DG - 94795016

(Vinyl)

$25.00

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Giordano, U: Andrea Chénier

Giordano, U: Andrea Chénier

Live at the Royal Opera House, Covent Garden


Jonas Kaufmann (Andrea Chénier), Eva-Maria Westbroek (Maddalena de Coigny), Željko Lučić (Carlo Gérard), Denyce Graves (Bersi), Elena Zilio (Madelon), Rosalind Plowright (Contessa de Coigny), Roland Wood (Roucher), Peter Coleman-Wright (Pietro Fléville), Eddie Wade (Fouquier-Tinville), Adrian Clarke (Mathieu), Carlo Bosi (The Incredibile), Peter Hoare (Abbé), Jeremy White (Schmidt), John Cunningham (Major Domo), Yuriy Yurchuk (Dumas)

Royal Opera House, Covent Garden, Antonio Pappano (conductor & David McVicar (director)

“Kaufmann is performing the title role for the first time, and it’s hard to imagine him bettered. His striking looks make him very much the Romantic and romanticised outsider of Giordano’s vision. His voice, with its dark, liquid tone, soars through the music with refined ease and intensity: all those grand declarations of passion, whether political or erotic, hit home with terrific immediacy.” – The Guardian

Presented in its Covent Garden premiere in January 2015, this staging – directed by David McVicar and conducted by the Royal Opera’s Music Director, Sir Antonio Pappano – shows a bloody tricolour daubed with the words “Even Plato banned poets from his Republic” – written by Robespierre on the death warrant of the historical Chénier, a poet and journalist sent to the guillotine in 1794 for criticising France’s post-revolutionary government. Andrea Chénier was a great success at its premiere at La Scala, Milan, on 28 March 1896. It established Giordano as a leading member of Italy’s giovane scuola, and has remained Giordano’s most popular opera, with occasional productions at leading opera houses. This production is the first by The Royal Opera since 1984. Of Giordano’s later operas, only Fedora (1898) has attracted some continued interest.

“The Countess de Coigny in sumptuous purple satin is sung to great effect by Rosalind Plowright, as is Elena Zilio’s Madelon…never less than compelling on screen, Jonas Kaufmann is a perfect foil to Eva-Maria Westbroek’s Maddalena who wrings every last drop of emotion out of ‘La mamma morta’…but the man of the hour is Antonio Pappano who conducts the Orchestra of the Royal Opera House as if all their lives depended on it” BBC Music Magazine, Christmas 2016 ****

“Captivating from start to finish, Giordano’s flawed masterpiece Andrea Chenier is presented in a sterling production under director David McVicar...Kaufmann’s voice is in superb condition, expressive and compellingly projected in his arias...[Westbroek's] voice is a substantial instrument which she manages capably, as demonstrated by her Act Three showpiece aria La mamma morta.” MusicWeb International, September 2016

Presto Discs of 2016

Finalist

Blu-ray Disc

Region: all

Warner Classics - 9029593779

(Blu-ray)

$19.50

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Anna Netrebko: Verismo

Anna Netrebko: Verismo


Boito:

L'altra notte in fondo al mare (from Mefistofele)

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Cilea:

Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur)

Giordano, U:

La mamma morta (from Andrea Chénier)

Leoncavallo:

Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci)

Ponchielli:

Suicidio! (from La Gioconda)

Puccini:

Un bel di vedremo (from Madama Butterfly)

Vissi d'arte (from Tosca)

In questa reggia (from Turandot)

In quelle trine morbide (from Manon Lescaut)

Manon Lescaut: Act IV

Yusif Eyvazov (tenor)

Signore, ascolta! (from Turandot)


Read Presto's complete review of this disc here.

The “Diva Assoluta del Mondo” (Opera News) is back, as you have never heard her before!

With VERISMO Anna Netrebko presents her long-awaited new studio album – the first in three years – displaying her remarkable vocal maturity and reaffirming her status as one of the leading sopranos of her generation.

For Anna Netrebko herself, it was the obvious next step; for her public it promises to be a revelation. The challenging verismo repertoire offers a fascinating portrait of Netrebko’s voice in its full maturity. Having reached the latest peak in an already sensational career, the soprano continues her vocal and artistic development in logical fashion, illuminating the stylistic and psychological complexities of verismo with her own special intensity and powers of expression.

Set to be one of the most important and anticipated classical releases of 2016.

VERISMO features Netrebko in the greatest, most irresistible hits of the Grand Italian repertoire of the fading 19th Century, with arias by Puccini, Leoncavallo, Ponchielli, Boito, Giordano, Catalani.

Showcasing brand new interpretations of some of the greatest and most popular opera arias of all time.

A winning classical music team – Anna Netrebko and Sir Antonio Pappano – now joined on record for the very first time by her husband and tenor Yusif Eyvazov.

Anna Netrebko has reached the heart of the rich, mature dramatic repertoire that allows her to showcase the sheer beauty, endless, wide range of colours and emotion in combination with her distinct and beloved timbre that sets her apart from any other artist, past or present. In many ways this album is a self-discovery for this unique artist, and is destined to reach Anna’s widest fan-base.

Verismo at the turn of the last century introduced "real life" experience to opera and left behind the romantic approach of Belcanto. Netrebko’s recent performances of Verdi’s “Macbeth” and “Il Trovatore" but also her role debut of "Manon Lescaut" in March 2014 in Rome, have shown that Netrebko is able to combine the most beautiful sound production with the harsh, sometimes brutal and scary reality of those heroines she is awaking to life for us.

“all sung with plenty of voice and abandon...when she settles into a long extract from Puccini’s Manon Lescaut, with tenor husband Yusif Eyvazov and Antonio Pappano conducting, the recital hits an impressively impassioned peak” Financial Times, 26th August 2016 ****

“[We get] as sense of a real person engaged in a real drama, of Manon and Des Grieux in the direst of straits, as Netrebko and her tenor (and husband), Yusif Eyvazov, tug at the heart strings. His voice is pleasingly grainy…[and Netrebko] sounds in good voice, too: darker, richer in tone than previously on disc and full across the range.” Gramophone Magazine, October 2016

“Everything’s sung with no-holds-barred abandon and emotional commitment...there’s strength and sweetness aplenty, aided by idiomatic detailed and often superbly delicate support from Pappano and his Roman orchestra...Like Cleopatra, Netrebko ‘makes hungry where she most satisfies’, and I can’t wait to see where she goes next with this repertoire.” Katherine Cooper, Presto Classical, 2nd September 2016

“The results are nothing short of magnificent. In familiar excerpts by Cilea, Giordani, Puccini and more, Netrebko deploys her increasingly dark and weighty vocal tone, along with the expressive fervor that has always been a hallmark, to produce readings that excite and delight the listener.” San Francisco Chronicle, 1st September 2016

“[Manon Lescaut], along with the Riddle Scene from Turandot, is Netrebko close to her best. she could declaim the text more incisively, but there is no denying the glory of her voice, more “fleshy” in timbre and exciting at the top, or its suitability for Puccini’s Tosca and Butterfly. Pappano’s deluxe accompaniments are sumptuously played.” Sunday Times, 4th September 2016

“Extracts from 10 operas show her voice reaching an exciting maturity, its increased weight matched by even more gleam, fizz and expressive projection. She has yet to sing most of these roles on stage, but inhabits them convincingly...Pappano is, as ever, the ideal supportive conductor, and the orchestra plays as if it loves Netrebko’s every note.” The Guardian, 15th September 2016 ****

“her rich, dark chocolate and red wine tone is the main sell here, along with her satisfyingly growly low register and wall-shaking (even through your home speakers) top notes...Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia also go full pelt, swaggering, moody and full-blooded throughout.” The Times, 26th August 2016 ****

Presto Disc of the Week

2nd September 2016

Presto Discs of 2016

Finalist

DG - 4795015

(CD)

$14.00

(also available to download from $8.25)

In stock - usually despatched within 1 working day.

Cavalleria Rusticana and Pagliacci

Cavalleria Rusticana and Pagliacci


Leoncavallo:

Pagliacci

Dimitri Platanias (Tonio), Aleksandrs Antonenko (Canio), Carmen Giannattasio (Nedda), Dionysus Sourbis (Silvio), Benjamin Hulett (Beppe)

Mascagni:

Cavalleria Rusticana

Eva-Maria Westbroek (Santuzza), Aleksandrs Antonenko (Turiddu), Dimitri Platanias (Alfio), Martina Belli (Lola), Elena Zilio (Mamma Lucia)


Orchestra of the Royal Opera House Covent Garden, Royal Opera Chorus, Antonio Pappano (conductor) & Damiano Michieletto (director)

These two short Italian operas are brought together in a new staging by award-winning director Damiano Michieletto, who sets both operas in a poverty stricken village in 1980s southern Italy, where the Mafia has a hold. The Royal Opera’s Music Director Antonio Pappano conducts a cast that includes charismatic Dutch soprano Eva-Maria Westbroek, exciting Italian soprano Carmen Giannattasio and the thrilling Latvian tenor Aleksandrs Antonenko.

Running time: 153 minutes

Subtitles: EN/FR/DE/JP/KO

Sound format: LPCM 2.0, DTS Surround, Dolby Atmos (Blu-ray)

“Dimitri Platanias makes a brash and brutish Alfio in Cavalleria and a thrillingly emphatic Tonio in Pagliacci. Aleksandrs Antonenko is not a subtle artist, but the raw energy of both his Canio and his Tiriddu makes an impact…Antonio Pappano knows exactly how these pieces should go, while the ROH forces play and sing their hearts out in realising them” BBC Music Magazine, Christmas 2016 ****

Blu-ray Disc

Region: all

Opus Arte - OABD7200D

(Blu-ray)

$35.50

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Elgar: Symphony No. 1 & In the South

Elgar: Symphony No. 1 & In the South


Elgar:

Symphony No. 1 in A flat major, Op. 55

In the South (Alassio), Op. 50


Recorded live in the Auditorium Parco della Musica, Rome, 21, 23 & 24 January 2012 (Op.55) & 18 March 2013 (Op.50).

Antonio Pappano, who studied piano and conducting, first attracted the attention of Daniel Barenboim, becoming his assistant at the Bayreuth Festival. After working in Barcelona and Frankfurt, he made his debut at Den Norske Opera in Oslo in 1987, becoming music director there in 1990.

From 1992 to 2002 Pappano was music director of La Monnaie, the Belgian Royal Opera House. In 2002, he was named music director of the Royal Opera House, Covent Garden, London, his current contract there running to 2017. Pappano has also been principal guest conductor of the Israel Philharmonic Orchestra and in 2005 became music director of the Orchestra dell’Accademia Nazionale di Santa Cecilia. Pappano was knighted in 2012 and was also made a Knight Grand Cross of Italy’s Order of Merit. Pappano’s opening London season in 2012 featured him conducting Elgar for the first time with, according to the critics, a ‘searing’ account of Symphony No.1. As part of his preparation of the score, he listened to Elgar’s own 1930 recording.

“Pappano has created a very fine orchestra indeed, one of true international quality. Its playing is not particularly Italianate, but then nowadays it’s rare for one of the world’s great orchestras to have an instantly identifiable sound...Pappano approaches Symphony No 1 and In the South as what they are – important works in the European late-Romantic tradition.” The Guardian, 17th August 2016 ****

“[Under Pappano] the musicians play with a fervent commitment and warmth, even if they don’t have an Elgar tradition. Pappano paces the music with a broad, expansive tread, paying great attention to instrumental detail...But it’s the performance of In the South that benefits most from the musicians’ Italianate temperament.” Sunday Times, 28th August 2016

“Sir Antonio Pappano directs a gutsy, intrepidly characterful and consistently stimulating account of Elgar's magnificent First Symphony…no Elgar aficionado will regret seeking out this supremely enjoyable release…let's hope the Second Symphony will not be long in following.” Classical Ear, October 2016 *****

“Pappano is nothing if not dynamic and wholehearted in his approach to this wonderful piece…the swagger of the Italians can be irresistible and the euphoric close of the symphony elicits a suitably noisy response.” Gramophone Magazine, November 2016

ica classics - ICAC5138

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$13.50

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Brahms & Bartók: Violin Concertos

Brahms & Bartók: Violin Concertos


Bartók:

Violin Concerto No. 1, BB48a, Sz 36

London Symphony Orchestra

Brahms:

Violin Concerto in D major, Op. 77

Orchestra dell'Accademia Nazionale di Santa Cecilia


Read Presto's complete review of this disc here.

“As far as I know, the Brahms Concerto and Bartók’s First have never been coupled together before on disc,” enthuses Janine Jansen during recording sessions for this album, “but to me they seem a natural pairing. They may speak a different kind of musical language, yet they not only share a Hungarian connection, but also a profound combination of symphonic power and chamber-scale intimacy.”

Brahms’s (and Liszt’s) Hungarian inspiration stemmed directly from nineteenth-century gypsy bands, whose racy, seductive dance music cast an intoxicating spell over the sensation-hungry audiences of the time. Béla Bartók took a more radical view, and having declared passionately during his student years “All my life … I shall have one objective: the good of Hungary and the Hungarian nation”, joined his friend Zoltán Kodály collecting native Hungarian and Transylvanian folksongs in the field, noting them down on manuscript and recording them on a primitive gramophone as they went along. As time went by, the natural melodic contours and quirky rhythmic inflections of indigenous Hungarian folk music became an indissoluble part of Bartók’s own unique creative style.

“The interpretation of the Brahms represents a true meeting of minds: Jansen possesses all the intellectual authority and expressive weight that the first movement requires, yet this is tempered by the wonderful spectrum of tone and the fluidity of pulse she can summon in the slow movement...Altogether a highly desirable disc.” The Telegraph, 24th November 2015 *****

“Jansen gives us a lyric reading [of the Brahms] of rare inwardness and beauty...it is a performance that marries meditation with motion, such is the suppleness of Jansen’s and Pappano’s feel for the concerto’s larger symphonic movement and the hand-in-glove relationship that exists between soloist, conductor and Pappano’s superbly responsive Santa Cecilia orchestra.” Gramophone Magazine, January 2016

“[The Santa Cecilia Orchestra's] sound is rich and weighty, the better to support Jansen’s interpretation, itself heavyweight yet characteristically mercurial. Jansen’s playing glows, and the second theme of the first movement really sings; here and throughout, there is the feeling that Jansen wants every phrase to say something.” The Guardian, 7th January 2016 *****

“The Bartok is a revelation.Somehow Jansen manages to coax this music out of its accustomed reticence, but without any sense of forcing it…at last, this concerto really does sing of unrequited love, well aided by the warm and beautifully balanced recording.” BBC Music Magazine, March 2016 *****

“Jansen never resorts to flashy display for its own sake; and even in the midst of the [Bartók's] Allegro giocoso she finds space for some beautiful cantabile playing. I was particularly struck by some of her legato double-stopping – making this sound smooth is no mean feat, but in Jansen’s hands it sounds as natural as if it were a duet.” Presto Classical, 8th January 2016

Presto Disc of the Week

8th January 2016

Presto Discs of 2016

Finalist

GGramophone Awards 2016

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - January 2016

Decca - 4788412

(CD)

$14.00

(also available to download from $8.25)

In stock - usually despatched within 1 working day.

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