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.
One of Vasily Petrenko’s most successful Elgar releases; there’s an edge to the Crouch End Festival Chorus’ performance of Britten’s Saint Nicolas ; Quartetto di Cremona’s new album is nothing if not overflowing with Mediterranean personality
Immortal Beloved is a CD that will appeal to lovers of fine singing and to people curious about some hidden corners of Beethoven’s output.
Vasily Petrenko’s Elgar disappoints, Edward Gardner’s Mendelssohn excites, and Alain Lefévre’s Paris is delights.
Violinist Viktoria Mullova supplies one of the year’s most programmatically-cohesive and thoughtfully-executed albums.
Andrew Manze and the RLPO have turned in one of the year’s great albums: potent, lyrical, haunting, and timely.
A round-up that includes: irresistible Beethoven, welcome arrivals of spring, a spirited celebration of Toscanini, and spectacular, revelatory Tchaikovsky.
Highlights include an excellent Tchaikovsky symphony cycle in modern sound and one of the year’s best chamber-music albums.
For all the surface-y beauty of the BSO’s playing, it’s a dull interpretation of Anton Bruckner’s Symphony no. 3.
Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra serve up some curious and, from time to time, rather languorous Elgar.