C Major
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Beethoven: Missa Solemnis in D major, Op. 123
Krassimira Stoyanova (soprano), Elīna Garanča (mezzo), Michael Schade (tenor), Franz-Josef Selig (bass)
Sächsischer Staatsopernchor Dresden & Staatskapelle Dresden, Christian Thielemann
Thielemann generally favours lively tempos and a lightness of touch. Details are clear and he elicits a remarkable luminosity from the substantial forces, making this a deeply engaging account...The... —
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UNIKO
All music written by Kimmo Pohjonen and Samuli Kosminen
Kimmo Pojohnen (accordion) & Samuli Kosminen (percussion and sampling)
Kronos Quartet
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The programme is both straightforwardly popular and plays to conductor Valery Gergiev's strengths. He and the orchestra whip up a fine storm in the opening of Rossini's William Tell Overture,... —
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Best of Verdi Opera Choruses
Orchestra e Coro del Teatro Regio di Parma, Orchestra e Coro del Teatro di San Carlo, Nicola Luisotti, Yuri Temirkanov, Boris Brott
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Verdi: Requiem
Dimitra Theodossiou (soprano), Sonia Ganassi (mezzo), Francesco Meli (tenor), Riccardo Zanellato (bass)
Orchestra e Coro del Teatro Regio di Parma, Yuri Temirkanov
The soloists are all very satisfactory but the performance, whilst precise, is not urgent and indeed seems a bit slow. —
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Tchaikovsky: The Nutcracker, Op. 71
Liudmila Konovalova, Vladimir Shishov, Emilia Baranowicz, Davide Dato
Wiener Staatsballett, Orchester der Wiener Staatsoper, Paul Connelly
Shishov rises fully to the challenge. He is one of what is these days quite a rare breed, the danseur noble who radiates authority and confidence merely by his physical bearing on stage...[Konovalova]... —
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Verdi & Wagner: The Odeonsplatz Concert
Roland Villazón (tenor), Thomas Hampson (baritone)
Symphonieorchester und Chor des Bayerischen Rundfunks, Yannick Nézet-Séguin
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the sense of instrumental soloists and choirs listening and responding to one another is palpable, making the Adagio a genuinely live experience albeit still one suffused with the satisfaction... —
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the sense of instrumental soloists and choirs listening and responding to one another is palpable, making the Adagio a genuinely live experience albeit still one suffused with the satisfaction... —
