Glossa
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Among the highlights are character pieces by Christina’s ‘Prince of Music’, Bernardo Pasquini…Throughout, Galassi combines precision and flair with astute musicological insights, and the regal... — More…
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this is doubtless a good-value way to explore the ensemble’s work and some otherwise unavailable though interesting repertoire — More…
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Francisco Corselli: Music at the Spanish Court
Nuria Rial (soprano)
El Concierto Español, Emilio Moreno
[Rial] matches the orchestra perfectly, and the balance between voice and instruments is very good. El Concierto Español delivers convincing interpretations of the orchestral scores; the wind... — More…
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Book 7 (1619) gathers together works that must have been written many years apart. The common denominator is its consistent use of instruments in conjunction with the voices. Recording the complete... — More…
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This recording is one of the best in La Venxiana's Monteverdi series - musically sustained with a convincing sense of ensemble and pace, and crisply recorded. — More…
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Handel - Italian Cantatas Volume 1
Cantatas for Cardinal Pamphili, Rome (1706-1707)
Roberta Invernizzi (soprano)
La Risonanza, Fabio Bonizzoni (harpsichord/director)
Roberta Invernizzi is thoroughly at home with the expressive nuances and stylistic vocabulary of the late Baroque… — More…
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.. The beautifully balanced, positively projected 11 voices of Graindelavoix lavish on the Franco-Flemish Champion’s Missa de Sancta Maria Magdalena — an ingenious and rich-textured commentary... — More…
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Saint-Saëns: Music for the Prix de Rome
Recorded in Antwerp (Koningin Elisabethzaal), Heverlee (Jezuïetenkerk) and Brussels (Flagey) in Feb, March and Oct 2010
Julie Fuchs (soprano), Marina De Liso (mezzo-soprano), Solenn’ Lavanant Linke (mezzo-soprano), Bernard Richter (tenor), Pierre-Yves Pruvot (baritone), Nicolas Courjal (bass), Bart Cypers (French horn) & François Saint-Yves (organ)
Brussels Philharmonic & Flemish Radio Choir, Hervé Niquet
[Le retour de Virginie is] a silly enough story but it allows for romantic solos, sea-music, storm-music and quasi-religious prayers; Saint-Saëns's score has little individuality, but all this... — More…
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Their playing is unfussy, and expressive without the blight of self-indulgent rubato. The overall sound is well balanced, their ensemble spot on, and their lightness of touch for non-obtrusive... — More…
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De Vitae Fugacitate
Laments, cantatas and arias in 17th-century Germany
Claudio Cavina (countertenor)
Concerto delle Viole, Roberto Gini
…Claudio Cavina's plangent countertenor is a fine match for the mournful sound of the viols… — More…
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