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If you chanced on this recording you’d be very impressed, I hope. A superb orchestra and a deeply committed conductor...if this is the way you get to know this work, no injustice will be done. — More…
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[Fischer] and his Budapest Festival Orchestra certainly acquit themselves rather well. Their tempos are sometimes slow enough to please Klemperer and Goodall fans, but they're lightened by the... — More…
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Presto Recording of the Week, 24th June 2013
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Gramophone Magazine, August 2013, Editor's Choice
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Fischer's approach is certainly involved with the work's expressive character, but also with Dvorak's strong symphonic control. The musical argument in the first movement is powerful...Fischer... — More…
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Gramophone Magazine, September 2010, Editor's Choice
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Building a Library, October 2020, Also Recommended
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Mendelssohn: A Midsummer Night's Dream - incidental music, Op. 61
RecommendedBudapest Festival Orchestra & Pro Musica (women's choir), Iván Fischer
Fischer is alive to the magical atmosphere of Felix Mendelssohn’s score and nowhere more keenly than at the start of the overture, where the four wind chords are extended beyond their usual... — More…
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Presto Editor's Choice, June 2018
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Presto Recordings of the Year, Finalist 2018
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As so often with Ivan Fischer, it's the breadth of insight that impresses here...the outer movements and Scherzo have plenty of muscular energy, and yet the lines can sing too...The recorded... — More…
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BBC Music Magazine, August 2011, Orchestral Choice
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Record Review, July 2011, Recording of the Week
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Right from the opening pp tremolando you can tell that as an interpretation this is going to be something off the beaten track. Rather than cue the familiar shimmering haze, Fischer prefers... — More…
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Presto Recording of the Week, 7th July 2014
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Presto Recordings of the Year, Finalist 2014
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Fischer finds more mystery in the slow introduction to the first movement of the Fourth Symphony than many other conductors...And it gets better and better: there's a beautiful, singing quality... — More…
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Johann Sebastian Bach… wrote Cantata 82, Ich habe genug, in 1727… Florilegium play it with touching gentleness, a filigree of one-to-a-part strings, Ashley Solomon's soft-toned baroque flute,... — More…
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Shostakovich & Weinberg: Cello Concertos
Nicolas Altstaedt (cello)
Deutsches Symfonie-Orchester Berlin, Michal Nesterowicz
The Weinberg is wonderfully played by Nicolas Altstaedt, who brings tone both muscular and soft-grained to illuminate the work’s contrasting facets…this is a notably warm performance thanks... — More…
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Solomon coaxes lively performances out of the members of Florilegium, with the depictions of rain, lightning and thunder conjured up by Haydn in the concluding storm movement of ‘Le Soir’ sounding... — More…
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