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Strong discs from Edward Gardner and the BBC Symphony Orchestra, Francois-Xavier Roth and his Paris-based period-instrument ensemble Les Siècles, and the National Orchestral Institute Philharmonic, an ad-hoc summer orchestra comprised of some of the U.S.’s finest conservatory musicians.
There’s no question the Beatles come out of John Higgs’ superb book Love and Let Die looking far better than James Bond. Love tends to play better than death and it’s easier to root for working class underdogs than Establishment snobs.
Sometimes what you’re searching for is actually right in front of you.
Violinist James Ehnes and pianist Andrew Armstrong’s Beethoven violin sonatas feel and sound absolutely right; Quatuor Ébène’s comes up with one of this anniversary year’s few, true benchmark releases; Nikolai Lugansky’s traversal of three of Beethoven’s late piano sonatas is often admirable.
In Limbo, Aminé’s become more reflective, yet he never loses sight his boisterous mischievousness.
“Spooky Action” succeeds at its ‘unreasonable’ mission — to supply poetry that sears the mind, charms the heart, and uplifts the spirit.
In Maria Baranda’s poetry there is the constant oscillation between beauty and ugliness, elegance and terror, the empowering journey and the overwhelming nightmare.
An Arts Fuse regular feature: the arts on stamps of the world.
I don’t recall encountering a recent Baroque recording that is sung with such a fine balance of smoothness and character.
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