Doriot Anthony Dwyer was a virtuoso flutist, one who could coax brightly burnished tones out of the instrument.
Soprano Ruby Hughes’ album is fine, well played, sung, and programmed; baritone Christoph Prégardien delivers vocal works by Mahler, Alexander von Zemlinsky, and Max Reger with warmth; soprano Diana Damrau is in her glorious prime singing the songs of Strauss.
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.
Akademie für Alte Musik Berlin’s pairing of Beethoven with Knecht is intelligent, programmatically and musically, but Thierry Fischer’s Symphony fantastique is a disappointing misfire.
Last Desert proves that guitarist Liberty Ellman and his group can dance when they want
Eschewing ostensible flash and musical sleight of hand, Without Deception is a treat for connoisseurs.
The practice of re-using large chunks of an opera for a new plot and new words may sound implausible to us, but in Rossini’s hands the result is delightful and surprisingly coherent.
The idea of posting this list is to remind people of what has been lost and hope that it stirs us to preserve what we have left.
Lovers of American music, don’t miss Aspects of America: The Pulitzer Edition ; Lindberg’s recording of Leonard Bernstein’s first two symphonies lacks a compelling command of the musician’s singular voice; the ORF Vienna Radio Symphony Orchestra tackles four pieces by Morton Gould.
Desperate times, desperate measures.