Alps 3D Paradise of Europe (2013)

For their fourth release with BIS, the United Strings of Europe with their director Julian Azkoul present another innovative programme, dedicated this time to the night, a source of wonder and fascination, rich with metaphorical associations. The ensemble’s varied, tailor-made programme features counterpoint, aching dissonance and chromaticism from across a range of styles spanning nearly 500 years, from the Renaissance to the present day.

This is the fourth instalment in Deutsche Grammophon’s new Mozart cycle. In the end this will encompass the seven great operas, from Idomeneo forwards. I haven’t heard the previous three, but from the reviews I have seen the reception has been rather mixed. Concerning this latest issue I am also in two minds. The problem, as I see it, is that Nézet-Séguin hasn’t quite decided what he is up to. He has the excellent Chamber Orchestra of Europe at his disposal.

It is more than twenty years since Solti last recorded Così for Decca, and if that earlier version was far from ideally cast, this new one more than makes amends. Above all, it has a commanding Fiordiligi in Renée Fleming, who conveys all the tragic vulnerability of this central character. Her performance of the great second-act rondo ‘Per pietà’ would be enough to melt the hardest of hearts. Anne Sofie von Otter and Olaf Bär are in fine form, too; and while Adelina Scarabelli is not exactly a mistress of disguises (she scarcely alters her voice at all for Despina’s part as the mesmeric doctor), her vitality is irresistible.

Raff completed the score of Die Eifersüchtigen (‘The Jealous Ones’) a few weeks before his death. He wrote the libretto himself and was scrupulous in differentiating his characters through their music and adopting a precise formal construction. With tight organisational control, a strong grasp of musical and dramatic relationships, and speech melodies based entirely on German prosody, Raff’s final opera is marked by clarity, concision and economy of means.

The disc, well recorded in 1987, is a very good performance of both the symphony and the overture. The symphony makes use of corrections made by studying the manuscript scores specially for this set of recordings. Only the first three symphonies had previously been checked in this way. In reality the differences are relatively small and concern various accenting marks and a few inserted bars. The most interesting potentially is the time signature for the slow movement which Schubert had marked as 2/2 time rather than the printed 4/4 time. This implies a faster pace with two bats per bar rather than four.

The third of DG’s series of seven Mozart operas conducted by Yannick Nezet-Seguin and initiated by Rolando Villazon. It was recorded live in the stunning venue of Festspielhaus Baden Baden and features a star cast full of critically-acclaimed artists – including Diana Damrau, the reigning Konstanze of our time – with an extraordinary strong showing of Deutsche Grammophon artists: Anna Prohaska, Rolando Villazon, Thomas Quasthoff and more.

Abbado’s complete Schubert symphony cycle is a benchmark recording, exhibiting a “freshness of approach and authentic Schubertian warmth and glow” (Gramophone). Not only does this collection contain the entire collection of Abbado's Schubert symphonies, it also features the added bonus of Joseph Joachim’s great orchestration of the "Grand Duo", originally for piano duet, now a virtual symphony in its own right.

Schubert had only about a month to put together the incidental music for the Rosamunde play. As a result, he had to press some already written compositions into service and add them to those newly composed in order to complete the score in time for the first performance on Dec 20, 1823. As it was, the final numbers of the score were ready only two days before the performance, leaving little time for adequate rehearsal. That may be a reason, along with the convoluted nature of the play itself, why there were only two performances before the play was cancelled.

Beatrice Rana combines Clara Wieck-Schumann and Robert Schumann's piano concertos with the Chamber Orchestra of Europe under conductor Yannick Nézet-Séguin In an interview with the New York Times, Rana, who called the piano concerto by Clara Wieck "a genius work in many ways," said: "I think that it's very, very underestimated - the intellectual value of this concerto in the history of music. It's fascinating to see that she conceived of this music free from any limitations; that as a teenager she composed an uninterrupted concerto with no breaks between the movements.