Ludwig Geza Anda,wolfgang Schneiderhan,pierre Fournier

There's a tendency on the part of some performers to play Beethoven's First and Second Piano Concertos as if they were really by Mozart–all elegance, poise, and refinement. Happily, Boris Berezovsky finds the Beethovenian fire burning beneath the Mozartian surface. Right from his vibrant entrance in Concerto No. 1, Berezovsky plays with fierce energy (despite his generally light touch) and a clearly discernible enjoyment. This is matched Thomas Dausgaard's equally electric reading of the orchestral part, which in many ways reminds me of the classic Szell/Fleisher recording. Of course the small-scale sound of the 38-member Swedish Chamber Orchestra cannot possibly equal the full sonority of the Cleveland Orchestra in its heyday, but it's remarkable how Szell's clear textures and crisp articulation match Dausgaard's, who, by the way, is using the new Barenreiter editions. Berezovsky seems to be of like mind with Fleisher, at least terms of his singing tone and mercurial style.

She sang all the major mezzo roles, and also some in the dramatic soprano repertory, notably Leonora in Fidelio, Lady Macbeth and the Marschallin. Her voice is a rich, expressive mezzo capable of dramatic incisiveness and even throughout its considerable range. Her upper register in mezzo music is excintingly projected. Although this compilation is composed of different recordings in different settings in different years, all of them show a young Ludwig when she had not yet acquired her prime and her status of, arguably, the best mezzo of the world, which would arrive in the years to come.

This album celebrates dance music, from waltz to tango, from slow foxtrot to quickstep, from samba to jive. Seventy years of music rooted in the 1920s, assembled by the enthusiastic musicians of the Ludwig Orchestra, who have taken to playing them at festivals, alongside their usual programmes devoted to Stravinsky or Schoenberg, to get the audience dancing – a phenomenal success story that now becomes an album, Dance with me!

If not at the beginning of the opera, then surely with the well-known prisoner chorus “O welche Wonne!” everybody will recognise the outstanding quality of this Fidelio. Leonore’s “Töt erst sein Weib!”, sung by the soprano Anja Silja, is only one out of many deep emotional moments of this studio production of the Hamburg State Opera, recorded in 1968 under the artistic direction by Rolf Liebermann. This very natural set and unostentatious production goes without any wrong pathos and lives through its simple beauty, strong emotions and great musical moments. A reunion with great opera stars: Anja Silja as Leonore, Lucia Popp as Marzelline, Richard Cassilly as Florestan, Hans Sotin as Don Fernando und Theo Adam as Don Pizarro.

Thuille, a Savoyard, created a name for himself in Munich’s academic life. Now, if his name is known at all, it is because of his famous pupils who included Hermann Abendroth, Ernest Bloch and Walter Braunfels. His writing as a composer has been overshadowed by his reputation as a teacher. Perhaps all that will be changed by this CD. It deserves to. In fact he wrote plentifully with almost one hundred songs and six operas although I can find only three listed in my old edition of Grove.

Thuille, a Savoyard, created a name for himself in Munich’s academic life. Now, if his name is known at all, it is because of his famous pupils who included Hermann Abendroth, Ernest Bloch and Walter Braunfels. His writing as a composer has been overshadowed by his reputation as a teacher. Perhaps all that will be changed by this CD. It deserves to. In fact he wrote plentifully with almost one hundred songs and six operas although I can find only three listed in my old edition of Grove.

Live Recordings 1955 - 1994. The wide-ranging repertory in which Christa Ludwig appeared at the Vienna State Opera, often surprising her audiences over a period of many years, is central to the present set of three CDs issued to mark her 80th birthday. It begins with her Cherubino from Le nozze di Figaro and her Composer from Strauss' Ariadne auf Naxos, both of which she sang at the Salzburg Festival soon after her Vienna State Opera début in 1955.

Recorded live in 1983, Alfred Brendel's third go-round with these works drastically improves on his previous Beethoven concerto cycles. He finds a calmer, more direct route to the Emperor Concerto, although the Fourth's first movement is still pock-marked with finicky phrase adjustments that pull focus from the music's poetic arcs. Levine provides sympathetic and alert support, yet is much more than a mere deferential accompanist.

This live Appassionata, from a Moscow recital of 1959, is one of the most thrilling piano performances ever recorded. Sviatoslav Richter fills every moment of the first movement with intense drama, creates the illusion of total repose in the central variations, and then takes off in the finale with an exhibition of musical virtuosity and ever-increasing tension that becomes almost unbearably intense (and unbelievably fast and accurate). The studio Pathétique is quite fine, and the Fantasy (sung in Russian!) well performed by all but still rather quaint in its effect. But don't miss that Appassionata!