Classical Music
Aside from English pronunciation issues, the singers put over this remarkably polished and attractive opera by one of England’s great seventeenth-century composers with great panache, matching the superb instrumentalists.
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“We take the audience on a journey that’s not part of a traditional approach to opera.”
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Don’t let the redundancy of much of this album’s repertoire dissuade you. On all the vital metrics, Liebestod delivers
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Missy Mazzoli’s scoring is generally airy and virtuosic, yet Dark with Excessive Bright doesn’t seem to add up to more than the sum of its parts.
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While balancing the scales of justice can be difficult work, the effort is an important act of generosity, even love.
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Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.
Read More Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.
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More popular than The Beggar’s Opera, J. F. Lampe’s goofy opera of 1737 receives its first complete recording, and the performance is splendidly, subtly humorous.
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More proof that, with pianist Igor Levit, Beethoven had found new interpreter, not only worthy, but important.
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Pianist Beatrice Rana, joined by the Chamber Orchestra of Europe and conductor Yanick Nézet-Séguin, plays the daylights out of Clara Schumann’s Piano Concerto in A minor.
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