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.
“We take the audience on a journey that’s not part of a traditional approach to opera.”
Don’t let the redundancy of much of this album’s repertoire dissuade you. On all the vital metrics, Liebestod delivers
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.
While balancing the scales of justice can be difficult work, the effort is an important act of generosity, even love.
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.
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.
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.
More proof that, with pianist Igor Levit, Beethoven had found new interpreter, not only worthy, but important.
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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