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Weird but distinctly wonderful, this programme exploring the connections between the emerging early music and cabaret scenes in early twentieth-century Paris finds d'Oustrac not so much chewing... —
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Presto Editor's Choice, August 2023
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Fuelled by a trip to Tunis, the two inner movements are imbued with ‘all the strangeness of Africa’ according to Antheil, and Kopatchinskaja is in thrall to their mercurial fantasy. She’s also... —
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International Classical Music Awards, 2023, Nominated - Chamber Music
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Messiaen comes at the center of the program, and what a tender, clear-headed, and ultimately rapturous performance this is, most sensitively colored by the pianist. For me, the biggest surprise... —
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International Classical Music Awards, 2024, Nominated - Solo Instrument
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Britten: The Turn of the Screw
Sally Matthews (Governess), Julian Hubbard (Peter Quint), Giselle Allen (Miss Jessel), Carole Wilson (Mrs Grose), Katharina Bierweiler (Flora), Thomas Heinen (Miles), Ed Lyon (Prologue)
La Monnaie Chamber Orchestra, Ben Glassberg
Ben Glassberg contributes a thoughtful essay to the booklet; with a few exceptions, his tempos are marginally broader than Britten’s, but the astonishing variety of invention, texture and atmosphere... —
Awards:
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International Classical Music Awards, 2023, Nominated - Opera
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[Mameli] provides an object lesson in how vocal precision need not inhibit passionate commitment. Her clarity and response to the texts is exceptional: the first phrase of Caccini’s Dolcissimo... —
Awards:
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Diapason d’Or, December 2017, Nouveauté
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Lesser-known French Romantic repertoire is brought to shimmering light thanks to Behr’s honeyed vocals and the luxuriant accompaniment. —
Awards:
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The Times Records of the Year, 2018
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Lonquich’s hearty serving of late Schubert is one to return to. The German pianist approaches these expansive sonatas with great perceptiveness and feeling. —
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International Classical Music Awards, 2019, Nominee - Solo Music
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The Elias Quartet, whose penetration of Beethoven’s works is second to none, take Schumann’s anxiety fully into account, without in any way trying to make these later works comparable. A pity... —
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Gramophone Magazine, May 2018, Editor's Choice
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Perhaps the most revealing examples of Frisch’s finger independence and bracing articulation can be found in the uncommonly clear interplay of voices in the C sharp major Prelude and in the... —
Awards:
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Diapason d’Or, May 2019
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