Gramophone Magazine Editor's Choice

December 2015

Disc of the Month

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Handel: Partenope, HWV 27

Awards:

Gramophone Awards 2016

Shortlisted - Baroque Vocal

Gramophone Magazine

Disc of the Month - December 2015

Label:

Erato

Catalogue No:

2564609007

Discs:

3

Release date:

6th Nov 2015

Barcode:

0825646090075

Length:

3 hours 22 minutes

Medium:

CD (download also available)
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Handel: Partenope, HWV 27


Philippe Jaroussky (Arsace), Karina Gauvin (Partenope), John Mark Ainsley (Emilio), Teresa Iervolino (Rosmira), Emöke Barath (Armindo), Luca Tittoto (Ormonte)

Il Pomo d'Oro, Riccardo Minasi

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Handel’s sparkling opera Partenope reunites Erato’ star countertenor Philippe Jaroussky and the captivating Canadian soprano Karina Gauvin, who both made such an impact in the Erato recording of Steffani’s rediscovered opera Niobe, released in early 2015 and welcomed as a “landmark event” by Gramophone.

Jaroussky’s Erato catalogue is rich, varied and extensive – and this summer he appeared as Ruggiero in Handel’s Alcina in a spectacular new production at the Aix-en-Provence Festival – but it is some time since he last recorded a complete Handel opera for the label: Faramondo, which was released in 2009. If Faramondo remains something of a rarity on the world’s stages, Partenope – which offers plenty of comedy as Queen Partenope juggles an array of suitors – is a popular work, and in recent years has even enjoyed productions in such large theatres as the San Francisco Opera and English National Opera.

Jaroussky takes the role of Arsace, Prince of Corinth, while Karina Gauvin is Queen Partenope herself. She has superb credentials as a Handelian and has recorded Ariodante (with Joyce DiDonato and the late Alan Curtis) and Giove in Argo (with Ann Hallenberg and Curtis) for Erato. Gramophone has spoken of her “ideal Handelian mix of grace and profound emotional truth,” while the Sunday Times has praised her “glinting soprano, bright-edged yet deliciously rounded and sensual … used with rare understanding for character” and the “sculptural beauty” of her phrasing.

The conductor is Riccardo Minasi, who, with his ensemble Il Pomo d’Oro, also appears on Joyce DiDonato’s bel canto collection, Stella di Napoli and Edgar Moreau’s new Erato album Giovincello. Praising conductor and orchestra for their command of Handel’s operatic style, Forum Opéra has written: “A real drama unfolds from the overture onwards … The conductor brings true brio as he engages with Handel’s rhetoric … The players of Il Pomo d’Oro can switch in a moment from the role of interlocutor to commentator … Add to this a perfect mastery of the way the recitatives lead into the arias, and you have the formula for an approach that remains constantly fresh.”

The rich-voiced Italian mezzo-soprano takes the role of Rosmira – Arsace’s former lover, who is disguised as a man, Prince Eurimene – while the diamantine Hungarian soprano Emőke Baráth takes the role of a real man, Prince Armindo, who is in love with Partenope. “Supremely stylish” were the words used by the Telegraph to describe John Mark Ainsley when he sang Emilio (yet another prince seeking Partenope’s hand) at English National Opera, and the distinguished Italian bass Luca Tittoto brings authority to the role of Partenope’s advisor Ormonte.

George Frederic Handel: Partenope, HWV 27

Ouverture: I.

Ouverture: II. Allegro

Ouverture: III. Presto

George Frederic Handel: Partenope, HWV 27, Act 1

"Tu dell'eccelse mura" (Partenope)

"Viva, viva, Partenope viva" (Chorus)

"Miei fidi, arride il cielo" (Partenope)

"Arsace. Armindo" (Armindo, Arsace, Partenope, Rosmira)

"Regina, in folte schiere" (Ormonte, Arsace, Armindo, Partenope, Rosmira)

"L'amor ed il destin" (Partenope)

"O Eurimene ha l'idea di Rosmira" (Arsace)

"Cavalier, se gli dei" (Rosmira, Armindo)

"Se non ti sai spiegar" (Rosmira)

"Armindo ardisci e prova" (Armindo)

"Voglio dire al mio tesoro" (Armindo)

"Ah! ch'un volto fatal mi dà gran pena!" (Arsace, Rosmira)

"Un'altra volta ancor" (Rosmira)

"Rosmira, oh Dio, Rosmira" (Arsace)

"Sento amor con novi dardi" (Arsace)

"Stan pronti i miei guerrier" (Partenope, Ormonte)

"T'appresta forse Amore" (Ormonte)

"Signora" (Armindo, Partenope)

"Bramo restar, ma no" (Armindo)

"E di che reo son io?" (Arsace, Partenope) - "Per te moro" (Arsace, Partenope)

"E se giunge Eurimene?" (Partenope, Arsace, Rosmira)

"Sei mia gioia, sei mio bene" (Partenope)

"I novelli amor tuoi" (Rosmira, Arsace)

"Dimmi, pietoso Ciel" (Arsace)

"Ecco Emilio" (Ormonte, Emilio, Partenope, Armindo, Rosmira, Arsace)

"Anch'io pugnar saprò" (Emilio)

"Arsace, tu sarai" (Partenope, Armindo, Rosmira, Arsace, Ormonte)

"Io ti levo l'iimpero dell'armi" (Partenope)

"Lascia, deh, lascia, oh prence" (Arsace, Rosmira, Armindo)

"È figlio il mio timore" (Arsace)

"Prence, di te mi lagno" (Armindo, Rosmira)

"Io seguo sol fiero" (Rosmira)

George Frederic Handel: Partenope, HWV 27, Act 2

Sinfonia

"Forti mie schiere" (Emilio)

Marche

"Ma le nemiche squadre" (Emilio, Partenope)

"Con valorosa mano" (Chorus, Emilio, Partenope, Tutti)

Sinfonia

"Soccorso" (Partenope, Armindo)

Sinfonia

"Renditi, oppure estinto" (Emilio, Arsace, Rosmira, Partenope, Ormonte)

"Vi circondi la gloria d'allori!" (Partenope, Arsace, Armindo, Rosmira, Ormonte)

"Contro un pudico amor" (Emilio)

"Barbaro fato, sì" (Emilio)

"Care mura" (Partenope)

"Emilio!" (Partenope, Emilio, Rosmira, Arsace, Ormonte, Armindo)

"Voglio amare insin ch'io moro" (Partenope)

"Ti bramo amico, e teco" (Arsace, Emilio, Armindo, Rosmira)

"E vuoi con dure tempre" (Arsace, Rosmira)

"Non può darsi in un petto" (Emilio, Armindo, Rosmira)

"Furie son dell'alma mia" (Rosmira)

"A pro di chi t'offese" (Partenope, Arsace)

"Poterti dir vorrei" (Arsace)

"Regina" (Armindo, Partenope)

"Non chiedo, oh luci vaghe" (Armindo)

"Più d'ogn'altro sarebbe" (Partenope)

"Qual farfalletta" (Partenope)

"Quanto godo, Eurimene" (Armindo, Rosmira)

"Rosmira mia, mio bene!" (Arsace, Rosmira)

"Furibondo spira il vento" (Arsace)

George Frederic Handel: Partenope, HWV 27, Act 3

Sinfonia

"Regina, ti compiace" (Armindo, Partenope, Arsace, Emilio)

"Non è incauto il mio consiglio" (Armindo, Emilio, Arsace, Partenope)

"Partenope, Eurimene" (Rosmira, Partenope, Arsace, Armindo, Emilio)

"Arsace, oh dio, cosi" (Rosmira)

"Chi m'apre i lumi?" (Partenope, Emilio, Armindo)

"Spera e godi, oh mio tesoro" (Partenope)

"Prencipe, ardir!" (Emilio, Armindo, Rosmira, Arsace)

"La speme ti consoli" (Emilio)

"Rosmira, ove ti guida" (Arsace, Rosmira)

"Ch'io parta?" (Arsace)

"Oh dio, par che dal petto" (Rosmira)

"Quel volto mi piace" (Rosmira)

"Ormonte, ti destino" (Partenope, Ormonte, Armindo)

"Nobil core che ben ama" (Armindo)

"Non chiedo, oh miei tormenti" (Arsace)

"Ma quai note di mesti lamenti" (Arsace)

"Cieli, che miro!" (Rosmira)

"Ma Partenope vien" (Rosmira, Partenope, Arsace)

"Un cor infedele" (Partenope, Arsace, Rosmira)

"Passo di duolo in duolo" (Arsace)

"Fatto è Amor un dio d'inferno" (Arsace)

"Di bel desire avvampo" (Emilio, Armindo)

"La gloria in nobil alma" (Emilio)

Sinfonia

"Regina, in queste arene" (Ormonte, Partenope, Emilio, Rosmira, Armindo, Arsace)

"Sì, scherza, sì" (Partenope)

"Armindo sia mio sposo" (Partenope, Armindo, Arsace, Rosmira)

"D'Imeneo le belle tede" (Chorus)

"Regina, in queste arene" (Ormonte, Partenope, Emilio, Rosmira, Armindo, Arsace)

"Seguaci di Cupido" (Arsace)

"Tu vanne in libertate" (Partenope)

"D'Imeneo le belle tede" (Chorus)

New York Times

11th December 2015

“The period orchestra Il Pomo d’Oro performs Handel’s score with irresistible energy and elegance.”

Sunday Times

3rd January 2016

“Gauvin proves captivating, enhancing Handel’s notes with delicious decorations in da capo repeats. Philippe Jaroussky (pictured) is her equal in technical dispatch of the most difficult florid music...Ainsley catches the braggadocio of the invader Emilio to perfection, and the supporting singers...sing as outstandingly as Minasi’s alert period band play.”

BBC Music Magazine

January 2016

****

“Il Pomo d'Oro plays with tremendous attention to detail, as responsive to variations of timbre, articulation and dynamic as the singers...As the siren Partenope, Karina Gauvin brings an easy glamour. John Mark Ainsley is a suave Emilio, brilliant in 'La gloria in nobil alma'...Were the recitatives a touch faster and less deliberate, it would be a perfect performance.”

Gramophone Magazine

December 2015

“Minasi’s triumphant new recording is so sensitive to the work’s shifting tone – by turns buoyant and light-footed, tender, humorous...and so impeccably cast as to bring this unusual work’s virtues into sharp new focus...Is there a better Handelian soprano than Karina Gauvin currently working?”

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Dancing Day: Music for Christmas

Dancing Day: Music for Christmas


Britten:

A Ceremony of Carols, Op. 28

A New Year Carol

Hadley, P:

I sing of a maiden

Ledger:

On Christmas night

Martin, M:

Novo profusi gaudio

Mathias:

Wassail Carol

Rutter:

Dancing Day

Scott, John:

King Jesus Hath a Garden


“[Scott's] sudden death earlier this year makes Dancing Day perhaps the most poignant of discs and bears testament to his phenomenal musicianship and taste. The choir is absolutely secure from trebles to basses and Saint Thomas’s organ is in fine voice...This disc has given most consistent pleasure.” Gramophone Magazine, December 2015

GGramophone Magazine

Editor's Choice - December 2015

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JS Bach: Magnificat & Christmas Cantata 63

JS Bach: Magnificat & Christmas Cantata 63

Reconstruction of Bach's first Christmas Vespers in Leipzig


Bach, J S:

Magnificat in E flat major, BWV243a

Chorale Prelude BWV600 'Gott, durch deine Guete'

Cantata BWV63 'Christen, aetzet diesen Tag'

Gabrieli, G:

Hodie Christus natus est a 10


Julia Doyle (soprano), Joanne Lunn (soprano), Clare Wilkinson (alto), Nicholas Mulroy (tenor), Matthew Brook (bass)

Dunedin Consort, John Butt

This is the premiere recording of J.S. Bach's Magnificat heard for the first time within its original liturgical context, alongside the beautiful Christmas Cantata. The first 1000 copies of the disc will also include a free bonus disc of highlights from the Consort’s Gramophone Award-winning seasonal favourite ‘Handel: Messiah’.

Dunedin Consort recreates Bach's first Christmas at Leipzig (Vespers in the Nikolaikirche, 25 December 1723); the recording opens with a Gabrieli motet and includes organ preludes and a seasonal congregational chorale.

Director John Butt has given listeners an interpretation that will provide a refreshing outlook on this masterpiece and will show the Magnificat in a completely new light.This recording marks the return of Dunedin Consort's star-studded cast including, Nicholas Mulroy, Matthew Brook, Joanne Lunn and Clare Wilkinson plus newcomer Julia Doyle.

About the Artist:

Butt's liturguical reconstruction of Bach's John Passion was named a Critics Choice by BBC Radio 3 CD Review and Gramophone, as well as being named Recording of the Month by three separate publications.

The Dunedin Consort has established a reputation as one of the finest period performance choirs around, under the direction of prize-winning historical performance specialist John Butt OBE.The multi-award-winning Dunedin Consort has won praise for the natural style of its soloists and renown for the virtuosity of its singers.

In addition to a GRAMMY nomination, Dunedin Consort has won two Gramophone Awards: the 2007 Baroque Vocal Award for Handel: Messiah and the 2014 Choral Award for Mozart: Requiem .Further accolades include: Esther was voted one of the Top 10 Classical Albums of 2012 by The Times, 2011 saw them included in Gramophone's Twenty Greatest Choirs list and its recording of Bach's Matthew Passion was named Building A Library: First Choice by BBC Radio 3 CD Review , whilst Six Brandenburg Concertos was named Gramophone Choice and awarded five stars by both BBC Music and The Guardian.

“There are interesting textual changes, the playing and singing are terrific, and Butt creates a very convincing congregational hymn with organ flourishes. But the highlight of the disc is the Christmas Cantata 63, brilliantly done with such expressive exuberance that it should have had (but certainly did not) the Leipzigers dancing in the aisles with joy at the arrival of their new Kapellmeister.” The Guardian, 11th October 2015 *****

“This is yet another astonishing triumph by Professor John Butt and his Dunedin Consort. Scholarly originality is the clincher: a reconstruction of Bach’s first Christmas Vespers in Leipzig with the wonderful Magnificat as central focus...The musicianship is exquisite; the emotional impact is immediate.” The Scotsman, 17th October 2015

“Another bull’s-eye hit from John Butt’s Dunedin Consort… interesting textual changes, the playing and singing are terrific, and Butt creates a very convincing congregational hymn with organ flourishes… the highlight of the disc is the Christmas Cantata 63, brilliantly done with such expressive exuberance.” The Observer, 11th October 2015

“It’s an absolute joy.” CD Review, 24th October 2015

“a very good example of John Butt’s marriage between arresting scholarship, enormous musicality – the tempi are so naturally right – and pragmatic skills: conceiving and bringing such a complex production to fruition is a huge task, and the whole disc is so coherently musical from the word go. Give it to all your friends for Christmas: this is contextual Bach at its very best.” Early Music Magazine

“This is one of the most enjoyable and stimulating Bach discs to have come my way since … well, since John Butt’s account of the Johannes-Passion. The performance standards are uniformly excellent and the music is life-enhancing… I’m in no doubt that I shall be listening to this superb disc at some stage on Christmas morning.” MusicWeb International

“With just 10 voices and an orchestra not quite double that in number (four of them trumpets) the scene is set for music-making that’s lucid and festive, captured in sound that’s both intimate and full. A spirited Christmas celebration with a difference.” Irish Times

“It’s an absolute joy – far too good to keep for Christmas.” CD Review, 24th October 2015

“Another intriguing and excellently performed project from Butt and his Dunedin Consort...As usual the forces are small-scale, save for two lusty congregational hymns (adorned with enjoyably headstrong organ improvisations). The Magnificat itself is exciting, fresh and faultlessly paced.” Gramophone Magazine, December 2015

GGramophone Awards 2016

Finalist - Baroque Vocal

GGramophone Magazine

Editor's Choice - December 2015

BBC Music Magazine

Choral & Song Choice

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Arie Napoletane: Max Emanuel Cencic

Arie Napoletane: Max Emanuel Cencic


Auletta:

Concerto in D major for harpsichord, two violins and continuo

world premiere recording

Leo:

Dal suo gentil sembiante (from Demetrio)

world premiere recording

Non fidi al mar che freme (from Demetrio)

world premiere recording

No, non vedrete mai (from Siface)

world premiere recording

Pergolesi:

L’infelice in questo stato (from L’Olimpiade)

Porpora:

Quel vasto, quel fiero (from Polifemo)

world premiere recording

Qual turbine che scende (from Germanico in Germania)

world premiere recording

Scarlatti, A:

Miei pensieri (from Il Prigioniero Fortunato)

world premiere recording

Tutto appoggio il mio disegno (from Il Cambise)

world premiere recording

Si, si tra le mie speranze resisti… Care pupille belle (from Il Tigrane)

world premiere recording

Vago mio sole (from Massimo Puppieno)

world premiere recording

Vinci, Leonardo:

In questa mia tempesta (from Eraclea)


Following the success of 2013’s solo album ROKOKO, Arie Napoletane is a brand new solo album for Decca’s prolific countertenor Max Emanuel Cencic. With repertoire not dissimilar to that on Cecilia Bartoli’s groundbreaking ‘Sacrificium’ album, Cencic sings arias by Porpora, Vinci and their contemporaries written for the superbly talented castrati of the day.

Focusing on the musically rich city of Naples during the Baroque period, this album, typical of Cencic’s highly-regarded musical curiosity, contains a majority of world premiere recordings – TEN works in total. Just as ROKOKO contained an extra addition in the form of Hasse’s Concerto for Mandolin, ARIE NAPOLETANE includes Auletta’s Concerto in D major for harpsichord, two violins and continuo played by the dynamic Maxim Emelyanychev.

A feast of baroque discoveries, riding the wave of enthusiasm for the countertenor voice, this album is a first-rate showcase for the talents of Max Emanuel Cencic, fast becoming one of the most recorded countertenors of our time – a must-buy for countertenor and baroque discovery fans alike.

“Cencic negotiates this complex emotional parabola wonderfully well. This is a great voice, dark in tone, beguiling in its liquidity and finely equalised. His coloratura flows with great ease...though it’s the slower numbers, where the long lines are effortlessly sustained and the emotions keenly felt, that make the disc so special. Il Pomo d’Oro are on fine form, too, and Emelyanychev, volatile, sensuous and keenly intense, is impressive” Gramophone Magazine, December 2015

GGramophone Awards 2016

Finalist - Recital

GGramophone Magazine

Editor's Choice - December 2015

Decca - 4788422

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Mahler: Symphony No. 7

Mahler: Symphony No. 7


“It is my best work, with a primarily cheerful character”. This was Gustav Mahler’s assessment of his Symphony No. 7, which was also highly regarded by Arnold Schoenberg, who said, “I had an impression of absolute peace based on artistic harmony. Something able to set me in motion without recklessly unsettling my center of gravity.” Riccardo Chailly, in his internationally acclaimed interpretations of Mahler’s symphonies – which he and the Gewandhaus Orchestra are bringing together in a complete cycle – focuses on the musical qualities of the works, eschewing false pathos and sentimentality while giving up none of the music’s dramatic intensity.

“Mahler’s Seventh Symphony, in which the composer pulled out all expressive stops and revealed himself to be an innovative modernist, has seldom been as persuasive and direct as in Chailly’s interpretation”, said the Frankfurter Neue Presse.

Picture Format DVD: NTSC 16:9

Sound Formats DVD: PCM Stereo

Dolby Digital 5.1

DTS 5.1

Region Code: 0 (worldwide)

Running Time: 83:35 min

“the Leipzig players do [Chailly] proud. There are so many stunning solos, from tenor horn at the start to the first trumpet who never splits brilliant top notes in the finale, that names should have been given in the booklet…even in a field of remarkable performances - this of all symphonies requires a terrifying amount of preparation - there's none better than this one.” BBC Music Magazine, February 2016 *****

“Developed and then fine-tuned in Leipzig over the last decade, Chailly.2 really does come with a different operating system. Briskly fired up, it fairly purrs through the data-heavy sections of Mahler’s Seventh...What really distinguishes Chailly’s Mahler nowadays (from his earlier self but also from most of the competition) is that he pushes through the music with the Italianate passion that Abbado chose to efface over the years.” Gramophone Magazine, December 2015

GGramophone Magazine

DVD/Blu-ray of the Month - December 2015

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Bartók & Ligeti: Ensemble Intercontemporain

Bartók & Ligeti: Ensemble Intercontemporain


Bartók:

Contrasts for violin, clarinet & piano, BB 116, Sz. 111

Jérôme Comte (clarinet), Diego Tosi (violin) & Sébastien Vichard (piano)

Sonata for Two Pianos & Percussion, BB 115, Sz. 110

Gilles Durot, Samuel Favre (percussions) & Dimitri Vassilakis, Sébastien Vichard (pianos)

Ligeti:

Piano Concerto

Hidéki Nagano (piano)

Cello Concerto

Pierre Strauch (cello)

Violin Concerto

Jeanne-Marie Conquer (violin)


Alpha is launching a collaboration with the Ensemble Intercontemporain and its new artistic director, composer-conductor Matthias Pintscher.

This new series will alternate 20th-century landmarks and new works, providing an opportunity to show to advantage the great quality of the EIC musicians in the major masterpieces of the last century and to discover scores by composers of the 21st century.

“These are finely balanced ensemble performances, with Hideki Nagano outstanding in the piano work; excellent balance and rhythmic sharpness also characterise the more familiar Bartók classics on the companion disc.” The Guardian, 6th December 2015 ****

“Others may have taken the opening Vivace of Ligeti's Piano Concerto at more of a lick, but the precision here packs a punch, and there's a sheer sense of fun as the final two movements develop into wild jam sessions…Jeanne-Marie Conquer captures the lyrical nature of the Violin Concerto, especially in the beautiful second movement” BBC Music Magazine, February 2016 *****

“never have such resolute performances of these pieces been captured with such lucent detail...[The Cello Concerto] begins in silence, but not the voyeuristic silence typical of John Cage. The engineers suddenly open the aperture and you’re dropped ears first into a masterfully balanced, orchestrated silence out of which a single high cello note imperceptibly slips.” Gramophone Magazine, December 2015

GGramophone Magazine

Editor's Choice - December 2015

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Prokofiev & Tchaikovsky: Piano Concertos

Prokofiev & Tchaikovsky: Piano Concertos


Prokofiev:

Piano Concerto No. 2 in G minor, Op. 16

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23


Beatrice Rana talks to Presto Classical's Katherine Cooper about the recording here.

At just 22, Beatrice Rana has already made a big splash on the international scene. Winning the 1st Prize and all special prizes at the Montreal International competition in 2011 at the age of 18, was followed in June 2013 with winning the Silver Medal and the Audience Award at the prestigious Van Cliburn competition. She is already a seasoned performer, having made her orchestral debuts with the Los Angeles Philharmonic, Detroit Symphony Orchestra, London Philharmonic Orchestra, Santa-Cecilia Orchestra, Philadelphia Orchestra, RAI Symphony Torino, Dresdner Philharmonie, Queensland Symphony Orchestra, and Filharmonica della Scala, performing in halls including the Zurich Tonhalle, Vienna Konzerthaus, Wigmore Hall, Kennedy Center, Laeiszhalle, and Walt Disney Hall.

In a testament to her musical maturity and the high quality of her playing, she is accompanied on her debut Warner Classics release by Italy’s finest orchestra, the Orchestra Dell’accademia Nazionale Di Santa Cecilia, under their Music Director Sir Antonio Pappano. This album is a tour de force, demonstrating the very best of Italian musicianship today.

“[the Prokofiev] presents formidable technical challenges, all of which are surmounted almost with nonchalance, the pianist's focus resolutely serving the score, not the mechanisms involved in performing it. She has a particularly rewarding sense of rhythm, high sprung, light and incisive and entirely secure…[there is] no doubt that this is a young pianist to be watched” BBC Music Magazine, February 2016 *****

“Rana is fierce! And not only as a pianist but as a fully developed artist of a stature that belies her tender years. You don’t want to miss her concerto debut, held aloft in inimitable style by Antonio Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia. This is a Prokofiev Second to conjure with: shapely, subtle, nuanced, musical in every detail.” Gramophone Magazine, December 2015

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BBC Music Magazine

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Hvorostovsky sings Liszt & Shostakovich

Hvorostovsky sings Liszt & Shostakovich


Liszt:

Sonetti di Petrarca (3) for voice & piano, S270

1st version

Shostakovich:

Suite on verses by Michelangelo Buonarroti, for bass & piano, Op. 145


Dmitri Hvorostovsky (baritone), Ivari Ilja (piano)

Ondine’s fourth release together with star baritone Dmitri Hvorostovsky features a program of sonnets by Dmitri Shostakovich (1906–1975) and Franz Liszt (1811–1886). Hvorostovsky is accompanied by his longstanding duo partner, the Estonian pianist Ivari Ilja.

“Hvorostovsky's baritone, still one of the great voices, can combine dark timbre with an emotional warmth to offset the granitic style; while pianist Ivari Ilja, although unable to mimic apocalyptic trumpets at the start of the flickering harp at the end, conjures up all the rest with austere commitment.” BBC Music Magazine, March 2016 *****

“There’s no grandstanding here, as can be his way in opera. Hvorostovsky offers searching readings of these rugged, jagged songs which are full of resignation and bittersweet regret, of loss and separation...Ivari Ilja, Hvorostovsky’s regular accompanist, catches the prickly anger in ‘Creativity’, hammering at his forge.” Gramophone Magazine, December 2015

“Hvorostovsky and Ilja capture the right degree of bleakness, anger and intensity. There is something of the iron fist in a velvet glove to Hvorostovsky’s voice here, and that velvet thins just often enough to reveal the edge beneath. His baritone may now be a touch too craggy for Liszt’s Petrarch Sonnets, but he and Ilja shape them stylishly.” The Guardian, 12th November 2015 ****

GGramophone Awards 2016

Shortlisted - Solo Vocal

GGramophone Magazine

Editor's Choice - December 2015

Ondine - ODE12772

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Mahler: Symphony No. 7

Mahler: Symphony No. 7


“It is my best work, with a primarily cheerful character”. This was Gustav Mahler’s assessment of his Symphony No. 7, which was also highly regarded by Arnold Schoenberg, who said, “I had an impression of absolute peace based on artistic harmony. Something able to set me in motion without recklessly unsettling my center of gravity.” Riccardo Chailly, in his internationally acclaimed interpretations of Mahler’s symphonies – which he and the Gewandhaus Orchestra are bringing together in a complete cycle – focuses on the musical qualities of the works, eschewing false pathos and sentimentality while giving up none of the music’s dramatic intensity.

“Mahler’s Seventh Symphony, in which the composer pulled out all expressive stops and revealed himself to be an innovative modernist, has seldom been as persuasive and direct as in Chailly’s interpretation”, said the Frankfurter Neue Presse.

Picture Format Blu‐ray: NTSC 16:9, Full HD

Sound Formats Blu‐ray: DTS HD Master Audio, PCM Stereo

Region Code: 0 (worldwide)

Running Time: 83:35 min

Disc Format: BD 25

“The Leipzig players do [Chailly] proud. There are so many stunning solos, from tenor horn at the start to the first trumpet who never splits brilliant top notes in the finale, that names should have been given in the booklet…even in a field of remarkable performances - this of all symphonies requires a terrifying amount of preparation - there's none better than this one.” BBC Music Magazine, February 2016 *****

GGramophone Magazine

DVD/Blu-ray of the Month

GGramophone Magazine

Editor's Choice - December 2015

Blu-ray Disc

Region: all

Accentus Music - Riccardo Chailly Mahler Symphony cycle - ACC10309

(Blu-ray)

$35.75

Usually despatched in 2 - 3 working days.

Sibelius: Historical Recordings & Rarities 1928-1948

Sibelius: Historical Recordings & Rarities 1928-1948


Sibelius:

Symphony No. 1 in E minor, Op. 39

Orchestra of the Royal Philharmonic Society, Robert Kajanus

Symphony No. 2 in D major, Op. 43

Orchestra of the Royal Philharmonic Society, Robert Kajanus

Symphony No. 3 in C major, Op. 52

Orchestra of the Royal Philharmonic Society, Robert Kajanus

Symphony No. 5 in E flat major, Op. 82

Orchestra of the Royal Philharmonic Society, Robert Kajanus

Karelia Suite, Op. 11

Orchestra of the Royal Philharmonic Society, Robert Kajanus

March of the Finnish Jaeger Battalion, Op. 91a

Helsinki Philharmonic Orchestra, Robert Kajanus

Andante festivo, JS34b

Finnish Radio Orchestra, Jean Sibelius

Pohjola's Daughter, Op. 49

London Symphony Orchestra, Robert Kajanus

Belshazzar's Feast Suite, Op. 51

London Symphony Orchestra, Robert Kajanus

Symphony No. 4 in A minor, Op. 63

London Philharmonic Orchestra, Sir Thomas Beecham

The Tempest, Op. 109

London Philharmonic Orchestra, Sir Thomas Beecham

Pelléas and Mélisande Suite, Op. 46: IV. A Spring in the Park

London Philharmonic Orchestra, Sir Thomas Beecham

Pelléas and Mélisande Suite, Op. 46: VIII. Entr'acte

London Philharmonic Orchestra, Sir Thomas Beecham

Pelléas and Mélisande Suite, Op. 46: IX. Death of Mélisande

London Philharmonic Orchestra, Sir Thomas Beecham

In memoriam, Op. 59 - Trauermarsch für Orchester

London Philharmonic Orchestra, Sir Thomas Beecham

Luonnotar, Op. 70 (Text: Kalevala)

Helmi Liukkonen (soprano)

Helsinki Philharmonic Orchestra, Georg Schneevoigt

Symphony No. 6 in D minor, Op. 104

Helsinki Philharmonic Orchestra, Georg Schneevoigt

Symphony No. 7 in C major, Op. 105

Live recording

BBC Symphony Orchestra, Serge Koussevitzky

King Kristian II, incidental music, Op. 27

Stockholm Opera Orchestra, Armas Järnefelt

Violin Concerto in D minor, Op. 47

Jascha Heifetz (violin)

London Philharmonic Orchestra, Sir Thomas Beecham

En Saga, Op. 9

London Philharmonic Orchestra, Sir Thomas Beecham

Lemminkäinen Suite, Op. 22: Lemminkäinen's Return (No. 4)

London Philharmonic Orchestra, Sir Thomas Beecham

Festivo (No. 3 from Scènes historiques I, Op.25)

London Philharmonic Orchestra, Sir Thomas Beecham

Finlandia, Op. 26

London Philharmonic Orchestra, Sir Thomas Beecham

Valse Triste, Op. 44 No. 1

London Philharmonic Orchestra, Sir Thomas Beecham

String Quartet in D minor, Op. 56 'Voces Intimae'

Budapest String Quartet

Romance in F major, from Four Pieces, Op. 78, for cello and piano

Emil Telmányi (violin), Gerald Moore (piano)

Danse champêtre, Op. 106 No. 2

Emil Telmányi (violin), Gerald Moore (piano)

Danse champêtre, Op. 106 No. 1

Emil Telmányi (violin), Georg Vásárhelyi (piano)

Mazurka, Op. 81/1

Anya Ignatius (violin), Timo Makkila (piano)

Four Pieces, Op. 115 No. 1 'Auf dem Herde'

Anya Ignatius (violin), Timo Makkila (piano)

Malinconia, Op. 20

Louis Jensen (cello), Galina Werschenskaya (piano)

Romance in D flat major, Op. 24, No. 9

Eileen Joyce (piano)

Säf, säf, susa, Op. 36 No. 4 (Text: Gustav Fröding)

Marian Anderson (contralto), Kosti Vehanen (piano)

Flickan kom från sin älsklings möte, Op. 37, No. 5

Marian Anderson (contralto), Kosti Vehanen (piano)

Kom nu hit, Död, Op. 60 No. 1 (Bertel Gripenberg after Shakespeare)

Marian Anderson (contralto), Kosti Vehanen (piano)

Långsamt som qvällskyn, Op. 61 No. 1 (Tavaststjerna)

Marian Anderson (contralto), Kosti Vehanen (piano)

The Bard, Op. 64

London Philharmonic Orchestra, Sir Thomas Beecham


“Few pioneering recordings from any era burn with greater passionate intensity or recreative spark than those set down in London during the early 1930s by the Finnish maestro Robert Kajanus...Kajanus’s towering legacy is one of the many reasons to invest in Warner Classics’ seven-CD Historical Recordings and Rarities, Beecham’s 1935‑39 LPO recordings being another.” Gramophone Magazine, December 2015

GGramophone Magazine

Re-issue of the Month - December 2015

Warner Classics - 2564605317

(CD - 7 discs)

$23.25

Usually despatched in 3 - 4 working days.

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