Capriccio
Bohuslav Martinů, one of the greatest Czech-born composers, reveals a dark-comic sensibility in his rarely performed “Knife” and “Bridge” operas.
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Moissey Vainberg’s opera powerfully evokes the brutality of Hitler’s extermination camps and the moral ambiguity of postwar Germany.
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Egon Wellesz’s Weimar era critique of the cruelty of nations that are victorious in war still rings hauntingly true.
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Dohnányi and Schnitzler’s “pantomime” The Veil of Pierrette receives its first, and resplendent, recording.
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The relative infrequency of big Berio releases makes new recordings of his major works into significant, contemporary music events; Dennis Russell Davies’ new recording of Bernstein’s Mass is done in by lax vocals and a paucity of emotional consistency; Riccardo Muti and the Chicago Symphony Orchestra supply a great Shostakovich Thirteenth Symphony.
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New recordings of Peter Schmoll and His Neighbors and of Euryanthe pose an embarrassing question: why is the opera repertory so narrow?
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Salome is not the only strong opera based on an Oscar Wilde play. This one-acter by Zemlinsky deserves a place in the repertoire today.
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Fine recordings of symphonies by neglected American composers Florence Price and George Antheil; and a curious album from Cornelius Meister and the ORF Radio-Sinfonieorchester Wien.
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A winning reminder of Sir Neville Marriner’s impressive stylistic range as a conductor, a fine recording of a much-loved and -played Richard Strauss tone poem, and a striking, powerful presentation of the string quartets of James MacMillan.
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