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Shostakovich: Suite on Verses of Michelangelo & October
Matthias Goerne (soloist), Orchestre Philharmonique de Radio France, Mikko Franck
Goerne’s warm, lyrical baritone sounds most convincing in gently reflective songs such as ‘Morning’ and ‘Love’, and the wonderfully fluid inflexion of vocal line in ‘Separation’, matched by... —
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Berg, Schoenberg & Webern: Chamber Music
Nicolas Bone (violin), Antônio Meneses (cello)
Belcea Quartet
There is no question that the Belcea Quartet...are completely on top of the formidable technical demands of these scores...the knife-edge contrasts of the Webern miniatures and the generously... —
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Collections of Second Viennese School arrangements have proliferated during recent years, and here Het Collectief combine the tried with the unfamiliar to a thoughtful and provocative degree. —
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Zaïcik is the foremost beneficiary of the programme. Her clear mezzo-soprano voice, with its tonal purity, tightly controlled vibrato and fluent virtuosity serve Vivaldi’s motets Invicti Bellate... —
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Bathed in a haze of sound, the crystal-clear voices of Ensemble Altera delight in held suspensions and crunchy chords. Glorious! —
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Adèle Hugo: Mélodies sur des poèmes de Victor Hugo
Karine Deshayes (soloist), Sandrine Piau (soloist), Isabelle Druet (soloist), Anaïde Apelian, Laurianne Corneille, Axelle Fanyo (soloist), Thomas Saulet, Anaïs Constans (soloist), Laurent Naouri (soloist), Sophie Paul-Magnien, Orchestre Victor Hugo, Chœur de l'Opéra de Dijon, Jean-François Verdier
The pieces show Adèle’s flair for melodic invention and bear the influence of the Hugos’ musical acquaintances. Traces of Liszt, Berlioz and Bertin are clearly audible...Top-rate singers, led... —
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Trotignon’s classical music does not always betray its composer’s jazz roots but the latter’s influence can be heard clearly in L’air de rien. —
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Tchaikovsky: Symphony No. 1, Italian Capriccio & Waltz from 'Eugene Onegin'
Tonhalle Orchestra Zurich, Paavo Järvi
Järvi does Tchaikovsky the supreme good service of allowing his earlier symphonies to stand without a sense of special pleading or undue podium tinkering. The string sound is open rather than... —
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Their interpretation [of the Messiaen] and the close-focused recording, featuring an overtone-rich, almost trumpet-like clarinet, are ideal for the episodes dominated by birdsong and dancelike... —
