Bezaly's exquisite, technically immaculate, compelling playing sets new standards in this repertoire, as do Kalevi Aho's stunning cadenzas, composed especially for this recording

Israeli flautist Sharon Bezaly offers delectable performances of the familiar Mozart concertos.
The composer famously protested that he loathed the flute, though he was far too much of a pro to slip from his customary fastidious standards.
In the fast movements he is at his most puckish and insouciant, while the slow ones, especially the Adagio ma non troppo of the G major, infuse graceful galanterie with exquisite poetry.
To both concertos, plus the two separate movements (of which the D major Rondo is a transcription of the dapper C major Rondo for violin, K373), Bezaly brings pure, delicately coloured tone – beautiful throughout its range – phenomenal agility and breath control, and an impish sense of fun. The Allegros have an elegant bounce, with soloist and the ever-alert Ostrobothnian Chamber Orchestra relishing their quickfire interplay. Repeats are always a cue for imaginative new phrasings; and time and again Bezaly provokes a smile with her playfully varied bravura passagework.
Bezaly opts for a lighter tonal palette than usual and favours a cooler, simpler (and arguably more Mozartian) approach in slow movements.
Where she steps right out of period is in the cadenzas. Specially written by Kalevi Aho, these refract and fragment Mozart through a 21st-century prism, exploiting the whole compass of the flute and giving Bezaly scope to explore intriguing new colours. Purists may throw up their hands. But if you can adjust to the time-travelling you may find Aho's cadenzas ingenious, entertaining and strangely touching.