Ludwig Schupmann

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.

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.

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!

Every man's death diminishes us all, but the death of a man so close to completing his greatest achievement and the summation of his life's work diminishes us all greatly – very, very greatly. When Emil Gilels died in 1985, he had completed recordings of most but not all of Beethoven's piano sonatas, released here in a nine-disc set. What's here is unimaginably good: superlative recordings of 27 of the 32 canonical sonatas, including the "Pathétique," "Moonlight," "Waldstein," "Appassionata," "Les Adieux," and the majestic "Hammerklavier," plus the two early "Electoral" Sonatas and the mighty Eroica Variations. What's missing is unimaginably priceless: five of the canonical sonatas, including the first and – horror vacui – the last. But still, for what there is, we must be grateful. Beyond all argument one of the great pianists of the twentieth century, Gilels the Soviet super virtuoso had slowly mellowed and ripened over his long career, and when he began recording the sonatas in 1972, his interpretations had matured and deepened while his superlative technique remained gloriously intact straight through to the last recordings of his final year.

The 1970 film version of Richard Wagner’s opera Die Meistersinger von Nürnberg is based on a staging by the director Leopold Lindtberg, for which Herbert Kirchhoff designed the set and Rudolf Heinrich the costumes. Leopold Ludwig conducts the Chorus of the Hamburg State Opera and the Philharmonic Hamburg State Orchestra. A quick glance at the cast list of this film production of Die Meistersinger reveals the surprising fact that the vocal protagonists – all stars of international reputation – were almost all associated with the Hamburg State Opera ensemble. This production fascinates by its appealing classical staging, the brilliance of the whole cast and the great camera shots, which are only could be realised in a studio production like this and with the result, that the audience finds itself placed amidst the scene.

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.