On sale now for a limited time are some of our favorite releases from BR Klassik, the label home of the Bavarian Radio Symphony and Choir. See below for all of our featured sale titles, including recordings by conductors Simon Rattle and the late Mariss Jansons, pianist and composer Friedrich Gulda, Fritz Wunderlich, and more.
(Sale ends at midnight ET, 8/31/21.)
These are gripping interpretations performed at a high technical level. They convince not only with exuberant temperament, tight rhythm, and great textures, but also express the melancholy of the Grave movements very well.
Ivan Repušić, the chief conductor of the orchestra, secures excellent results. These performances are assured, lyrical, and idiomatic. There are other recordings of all these works, but not grouped together. This is a very worthwhile recording.
The centre of this recording is the Miserere. There is of course the classic, 30-year old recording by the Hilliard Ensemble, but any admirer of the work will be keen to have this new version, so immediate is its impact and so impressive its sonic depth.
The performances show Jansons wrestling with the scores, never coasting as he easily could have. His reading of Brahms's Symphony No. 4 is deeply considered, with a corker of a finale that flows through its passacaglia variation structure like a giant river.
Arman conducts with assurance. The world-class Bavarian chorus supplies an inspired sacred sound, ardent, ample, and immediate. The vocal soloists integrate splendidly and convincingly. The Requiem's emotional drama is honored here faithfully.
Dvořák's fully notated piano part is beautifully modulated here by Julius Drake. The soloists make a mostly well-matched team, the best of them being Gerhild Romberger. This new recording well surpasses its only, decade-old rival on record..
Sigismondo, an old-fashioned travesti role, is sung by Marianna Pizzolato. Both she and Kenneth Tarver as the king’s devious and sexually ambitious Prime Minister are class acts. Conductor Keri-Lynn Wilson's drive and authority wonders for the piece.
What is perhaps most immediately striking is the detail and brilliance of the playing. Skelton makes a fine, handsome sound, while Kožená in her songs offers singing of supreme beauty. A fascinating and beguiling performance; highly recommended.
This recording is worth hearing for Marina Rebeka's dramatic Luisa contribution alone. Inveterate Verdians should definitely lend their ears to this latest Luisa Miller, and those wanting a first recording of this hidden away masterpiece could do much worse.
Banse is clearly in her element with these lied selections. She gives warm, deeply committed performances. Her attractive voice cuts through the often-rich orchestral sound with ease. Impressive too is her high register with noticeably fine presence and clarity.
With utmost conviction from beginning to end the renowned choir deliver appropriately devout singing, well focused and eminently unified. Of high order too is the orchestral playing that seems completely at home with Mendelssohn’s music.
The Mozart sonata is lovely and leisurely, with discreet ornaments added. Gulda’s own creations are original, witty, and sometimes moving. For people unfamiliar with this unique artist, this release offers a perfect introduction.
This cross-section of choral numbers spanning a period of almost 300 years offers testimony to the unique choral culture of the Bavarian Radio Choir, along with the supreme artistic quality of its interpretations.
Wunderlich delivers these operetta and light opera arias, recorded not long before his tragic death, with the same ardour and elegance that made him his generation’s leading Mozart tenor.