Naxos
That composer Anna Clyne is a gifted miniaturist is evident in “Abstractions”, a set of five movements offering musical commentary on the works of five contemporary visual artists.
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By Ralph P. Locke Joachim Raff’s energetic and characterful Die Eifersüchtigen hits its mark, in its first production ever. Joachim Raff: Die Eifersüchtigen (The Jealous Ones) Serafina Giannoni (Donna Rosa), Raìsa Ierone (Donna Bianca), Mirjam Fässler (Ninetta), Benjamin Popson (Don Claudio), Batthias Bein (Beppino), Balduin Schneeberger (Don Giulio), Martin Roth (Don Geronimo). Orchestra of Europe,…
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Composer Michael Daugherty’s lovely survey of 20th-century touchstones continues; violinist Philippe Quint plays a lineup made up (mostly) of commissions.
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Ferruccio Busoni’s century-old (or -young) Doktor Faust, inspired by Christopher Marlowe and other pre-Goethe sources, offers a fascinatingly hellish ride.
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A renowned 18th-century master struts his stuff, helped by a skillful young Italian tenor, in an opera first performed in Russia.
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Another excellent recording from the “Rossini in Wildbad” festival, with spellbinding vocal performances by Congolese tenor Patrick Kabongo and other powerful young singers.
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Paul Jacobs, the day’s reigning organ virtuoso, has assayed a fascinating assortment of Americana that showcases the King of Instruments against an orchestra.
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The debut album of Decoda, the first – and, so far, only – affiliate ensemble of Carnegie Hall, and a disc featuring a trio of works by two mid-century Chicago-based composers, Florence Price and Leo Sowerby.
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Auber’s 1831 “Le Philtre” (“The Love Potion”) is an engaging romp that helped give birth to Donizetti’s “L’elisir d’amore.” Immensely popular in his own day, why isn’t it revived more often?
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An album that does admirable justice to one of the most prolific, significant, and increasingly long-lived composers of a remarkable generation.
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Arts Remembrance: In Memoriam — Tom Stoppard