At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
Just in time for Passover: another fine world-premiere Rossini recording, the 1827 French version of his Moses-in-Egypt opera.
Musicians active in Boston, Washington DC, and Australia discover previously unrecorded gems, including works by women composers and composers of color.
There are some smartly colored and well-handled performances here, but it’s hard to get past the recording’s unsatisfactory acoustics.
This splendid world-premiere recording proves that, as an opera composer, Johann Simon Mayr had “the whole package.”
World premiere recording of an utterly delicious 1872 comic opera, recorded without spoken dialogue, so you can just revel in the music and the singing.
My Father Knew Charles Ives and Harmonielehre make an excellent pairing on the Nashville Symphony Orchestra’s new, all-Adams album led by music director Giancarlo Guerrero.
A welcome political homage to Woody Guthrie, a new recording of Ethel Smyth’s 1931 choral symphony makes a strong case for a full reconsideration of her output, and David Lang’s rejiggering of Beethoven’s Fidelio is both stirring and timeless.
Rossini’s Zelmira is a powerhouse opera that features two coloratura tenors and equally demanding roles for soprano and mezzo.
For fans of David Lang and/or one of the country’s best choirs, this is a can’t-miss release; Christopher Rouse’s Fifth is about as fresh and engaging a Symphony as the composer wrote; Hub New Music plays the daylights out of Robert Honstein’s Soul House.