Bronski Beat The Age Of Consent (1984) [remastered 1996]

This reissue of a 1989 recording by the Orchestra of the Age of Enlightenment has a good claim for the title of "Best Buy Brandenburgs." These performances don't have the splashy extroversion of Il Giardino Armonico or the caffeine-pumped, high-velocity thrill of Musica Antiqua Köln, but they're not overly reserved or dull, as some English ensembles are accused of being. The OAE's instrumental playing is very skillful indeed, with particularly nice work from the horns in the third movement of the First Concerto, and from trumpeter Mark Bennett in the Second; and the tempos are moderately quick (which means that they would have been considered rather fast before 1980 or so), but without being breathless. The slow movements sing sweetly–the viola playing of Monica Huggett and Pavlo Besnosiuk in the slow movement of the Sixth Concerto is especially lovely–and the quick outer movements have an infectiously bouncy pulse.

–Matthew Westphal

If there is one Mendelssohn symphonic recording that makes the case for a more favorable reassessment [of the composer], it's this pairing of the Italian Symphony and some of the Midsummer Night's Dream music by Sir Charles Mackerras…. The clarity of texture here [in the Symphony] is extraordinary, even when the brass and winds add their clout. As a result, every line of Mendelssohn's orchestration comes through clearly, leaving a listener with a renewed respect for this composer's inventiveness…. The Midsummer Night's Dream music is even more miraculous….

Chandos’ featured release is a new recording of the first English operatic masterpiece, Purcell’s tragedy Dido and Aeneas. Starring Sarah Connolly, Gerald Finley, with the Orchestra and Choir of the Age of Enlightenment, it is released to commemorate the 350th anniversary of Purcell’s birth.

Christmas Oratorio is topical, it’s also universal. It doesn’t require lights or tinsel or presents under the tree to instruct, inspire, and/or entertain, especially if it is presented in as fine a performance as this one fashioned by Stephen Layton and his cohort. Layton is the director of music at Trinity College, Cambridge (having succeeded Richard Marlow), and his choir is top-notch, as is the Orchestra of the Age of Enlightenment, mercifully identified as OAE. OAE’s roster is rife with such familiar names from the period instruments movement as Margaret Faultless (who is just that here) and Alison Bury. To mention Anthony Robson, oboe, and David Blackadder, trumpet, is not to slight any of the other players.

Jonathan Kent's spectacular production of Purcell's huge semi-opera is joyous, imaginative and witty Glyndebourne, with its intimate auditorium, provides the perfect setting for a drama which is partly spoken and partly sung. Based on an adaptation of Shakespeare's A Midsummer Night's Dream, the story is lavished with a brilliance that justifies this production's acclaim. Paul Brown's inventive designs, Kim Brandstrup's exquisite choreography, an excellent cast of actors and singers and outstanding playing by the Orchestra of the Age of Enlightenment under William Christie combine to make a seamless theatrical experience, here recorded in High Definition and true surround sound.

Semiramide, based on a play by Voltaire about an ancient Assyrian queen, was Rossini's last Italian opera. Some five hours long in performance, it has always been subject to cuts from producers worried that it was a butt-breaker, but Rossini insisted that it be performed as written. He was right: its massive two acts have a logic and flow that do not flag. Despite its size and difficulty (check the hefty list of sponsors and patrons in the booklet), the opera is being revived increasingly often. The work has been called the last Baroque opera, with its tragic plot from antiquity encrusted with glittering, highly ornamented arias, and you might suppose that a performance stands or falls with the singers. This version certainly offers strong ones, including the superb pair of sopranos Albina Shagimuratova in the title role and Daniela Barcellona in the travesti or cross-dressing role of the commander Arsace.

Sir Andr s Schiff's remarkable new recording finds the great pianist reassessing interpretive approaches to Brahms in the inspired company of the Orchestra of the Age of Enlightenment. Their collaboration in a series of concerts was widely acclaimed and led to them recapturing the experience at Abbey Road where it was recorded in December 2019. Schiff plays on a Blthner piano built around 1859, the year the D minor concerto premiered.

Mozart's genius in setting to music Da Ponte's comic play of love, infidelity and forgiveness marks Così fan tutte as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful production for the Glyndebourne Festival in 2006, with its sure touch and theatrical know-how, lives up to its promise to be 'shockingly traditional', while Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.

Although frequently classified as an oratorio, C. P. E. Bach's Auferstehung und Himmeelfahrt Jesu is really a cantata. There are no named dramatis personae and it is evident from Emanuel Bach's own comments that he intended the work to have a partly didactic function. He also considered it, in his own words as "pre-eminent among all my vocal works in expression and in the composition". The author of the text was Karl Wilhelm Ramler, an important poet of the German Enlightenment whose texts had earlier attracted Telemann. Ramler and Bach engaged in a close collaboration over the Auferstehung and between Bach's setting of it in 1774 and the eventual publication by Breitkopf in 1787, composer and poet entered into a lively correspondence concerning the details and shape of the cantata. The first performance took place in Hamburg in 1778 when it was warmly received. Many subsequent performances were given culminating in three directed by Mozart in Vienna.

For this 2010 production, the first new staging of the opera in 10 years, Glyndebourne welcome back the winning team of director Jonathan Kent and designer Paul Brown with Festival Music Director, Vladimir Jurowski conducting the Orchestra of the Age of Enlightenment. Set at a time of seismic social and cultural change - in a Fellini-esque vision of post-war life - Jonathan Kent's urgently propulsive production offers a 'white-knuckle rollercoaster ride' through the events of the Don's last day as they unfold in and around Paul Brown's magical 'box of tricks' set.