Eotvos’s 2019 violin concerto Alhambra, a kaleidoscopic, ear-catching, playful affair inspired by the palace in Granada with Isabelle Faust’s fleet-footed violin chased at a distance by a ghostly mandolin.
Corigliano’s score is a riotous mix of styles, and Colaneri masterfully blended them into a cohesive whole. He also ensures a good sound balance between singers and orchestra, in which the voices are highlighted.
The Italian pianist specializes in the interpretation of Thalberg's composition. With an exquisite technique, a wonderful sound, and an impeccable legato these recordings have no rival.
This disc is a quite remarkable achievement of adaptation. The recording is of outstanding quality, and is a ‘must have’ for all lovers of brass music.
Bühl is among some who are again paying attention to this composer. He gives this positively upbeat music the affection and care that makes its special character shine, modeling both its clean craftsmanship and warmth of content.
The 1958 New York studio recording of "Le Sacre du printemps" still has an excitement, spontaneity, and primal fury that no other version quite matches. It fully deserves its legendary status.
Joyce DiDonato has a voice of rare beauty, but even more heartbreaking than the loveliness of her singing is her endlessly varied dramatic coloring of the text. Pianist Yannick Nézet-Séguin is the perfect companion.
The Viennese players give Thielemann everything he commands, elegantly shaping and sculpting the bigger structural pillars and bringing crafted nuance and color to the shorter phrases. The sound of the Vienna Philharmonic is nothing less than beautiful.
Using a Baroque bow, Hadelich's inward approach results in superb intimacy in the slow movements of the sonatas. His approach makes listening to the cycle at a single sitting relatively easy.