Chandos
The Sinfonia of London and Susanna Mälkki with the Helsinki Philharmonic Orchestra release recordings filled with color and beauty.
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Franz Peter Zimmermann’s rendition of Stravinsky’s Violin Concerto overflows with style and character; James Ehnes’ version is generally warmer and more relaxed, though it doesn’t lack for rhythmic zip.
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The Norwegian soprano’s execution of the vocal line in Luonnotar is nothing short of astounding.
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This disc from the London-based Kaleidoscope Chamber Collective pairs piano quintets by Amy Beach and Florence Price with Samuel Barber’s haunting “Dover Beach.”
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There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
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The second recording of William Alwyn’s searing opera confirms the work’s vitality and importance. It is one of the best and most accessible operas to have been written in the past few decades.
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Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
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A welcome political homage to Woody Guthrie, a new recording of Ethel Smyth’s 1931 choral symphony makes a strong case for a full reconsideration of her output, and David Lang’s rejiggering of Beethoven’s Fidelio is both stirring and timeless.
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James MacMillan’s Viola Concert is a magnificent addition to the repertoire; the debut recording of Magnus Lindberg’s song cycle Accused leaves a bit to be desired; a fetching, brilliant gathering of orchestral music by Sir Richard Rodney Bennett.
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Isabelle Faust makes Arnold Schoenberg’s thorny Violin Concerto sing; Mariss Jansons lends heft to Saint-Saëns’ Symphony no. 3, and John Wilson continues to be your go-to conductor for Erich Wolfgang Korngold.
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Jazz Perspective: Zev Feldman – A Sherlock of a Producer with an Impressive Portfolio