John Dvorak

An imaginative mixture of the popular and the unusual. Barber’s only quartet has at its heart the famous Adagio for Strings: the latter is an arrangement of the second of the quartet’s two movements. That Adagio – which here benefits not only from the unfamiliarity of the chamber original but also from the Duke’s sensitively understated approach on their first recording for Collins Classics – is here surrounded by some captivating faster music (including a brief return to the opening Molto allegro’s ideas). And Robert Maycock’s excellent booklet notes hint at what those famous seven minutes of slow, sad passion in particular could really be said to be about: young homosexual love in the Austrian woods. Thirty years later, in 1966, another American in Europe, and still in his twenties, wrote his first string quartet, though it’s unlikely to be a direct reflection of love, this time in Paris.

Glyndebourne has wisely preserved the best of Melly Still's literal,cluttered and ugly 2009 staging; its world-class soundtrack;.Dvorak's operatic masterpiece is in Belohlavek's bones, and he gets a thrilling and luminous account of the ravishing score from the LPO on virtually flawless form. It is the most central European of london's symphonic bands, and certainly equals, if not surpasses, the idiomatic Czech Philharmonic on rival sets conducted by Vaclav Neumann (supraphon) and Charles Mackerras (Decca). Ana Maria Martinez's Rusalka-more warm -blooded than Gabriela Benackova , less self-indulgent then Renee Fleming-gives one of the most ecstatic acounts of the famous Song to the Moon on disc.

The gracious young soprano Martina Janková has established a firm position amidst fierce international competition. Since 1998 she has been an Oper Zürich soloist and has featured in productions by conductors of such renown as Gardiner, Harnoncourt, Fedoseyev, Herreweghe, Rattle, etc. With Sir John Eliot Gardiner, she has recorded, among other things, Bach’s cantatas. Yet Martina Janková keeps returning to the emotionally rich realm of the song.

This highly acclaimed production from the Bayerische Staatsoper, a powerful and fascinating re- interpretation of Dvorak's fairy-tale opera Rusalka, was a revelation: the young, up-and-coming Latvian soprano, Kristine Opolais, whose performance was rightly hailed by the press as 'one of the most vivid and striking accomplishments seen on an opera stage in a long time' (Vienna's leading daily Der Standard). With her supple and velvety soprano voice, her captivating physical beauty and her hauntingly moving stage presence, Kristine Opolais perfectly embodies the role of the water nymph who becomes a human being in order to find love.