Jonathan Blumhofer
The album serves up exceptional stuff, even if the program’s a touch macabre and pianist Orion Weiss’s well-written liner notes make uncomfortable connections between the world of pre-World War 1 Europe and our own pandemic-riddled age.
What might be the most impressive feature of this disc: everything on it was written for The Claremont Trio since 2008. The album stands as a shining testament to their adeptness as an ensemble as well as their curiosity as musicians.
Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
Violinist Lea Birringer’s performance of the Christian Sinding selections are impressive. Her Mendelssohn Violin Concerto, though, is missing drive, excitement, and passion.
When There Are No Words presents six pieces written between 1936 and 1980 by composers responding (at least seemingly) to contemporaneous political events and situations.
Marvelously accomplished albums from American mezzo-soprano Joyce DiDonato and Canadian soprano Barbara Hannigan.
Two first-rate albums: pianist Lara Downes successfully reconsiders Scott Joplin and the New York Youth Symphony plays Florence Price and others with panache.
Conductor Klaus Mäkelä may be young, but, on the merits of this set, he sure seems to be the real deal. Buckle up: this ought to be an exciting career.
This is an album that’s at once musically significant but, more than that, thoroughly enjoyable. How tragic that, largely on account of her race and gender, Florence Price’s music was almost erased.
Cultural Commentary: The Gergiev Case
There are times – and we’ve been living in these for several years now – when boldness is required, especially from artists.
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