The incomparable lied baritone, Christian Gerhaher, revisits Gustav Mahler in his latest release Mahler: Orchestral Songs. Accompanied by the Montreal Symphony Orchestra , under the elegant baton of Kent Nagano, Gerhaher has recorded three Mahler song cycles in their authentic orchestral versions for the first time. On Mahler: Orchestral Songs, Gerhaher manages to blend with the compelling sound of the orchestra, but at the same time makes his baritone hover above the instruments, so that every word and nuance comes across without ever sounding forced. Simple in style and full of empathy, this is the art of song at its finest.
Those who collected CDs in the early years may remember Sony Classical's outstanding "Vivarte" series, which generally provided music using original instruments. Anner Bylsma one of the finest cellists of his time. Anner Bylsma celebrated his 70th birthday when this set was originallyl issued on 2004. It really mattered not what repertoire this cellist chose to play because his art is so all-embracing. He is gifted with a beautiful cello sound, formidable technique and wonderfully convincing interpretive ideas.
"Charlotte Church's debut album Voice of an Angel won a large crossover audience – an audience much larger than the average opera record gets, let alone a record made by a 12-year-old. (…) Yes, "Just Wave Hello" already sounds dated, but the rest of the record boasts accomplished, professional (albeit mainstream) production and arrangements and, lest we forget, a very gifted, endearing vocalist called Charlotte Church. She has a sweet, pure soprano voice that will charm and win over listeners who don't consider themselves opera fans. Whether it wins opera fanatics is another matter entirely, but this album wasn't made for them anyway."
Recorded at 4 August 2004 at Arena di Verona Italy. The magic of our Arena has become even more enchanting. A sublime embrace symbolising art and great music has tied it to seven millenary amphitheatres around the Mediterranean: Pula in Croatia, Ephesus in Turkey, Palmyra in Syria, Leptis Magna in Libya, El Djem in Tunisia, Terragona in Spain and Arles in France. This is an unprecedented event that also has the merit of bringing Placido Domingo back to the splendid setting of the Arena di Verona after a ten year hiatus. This great tenor acts as the spokeman - using his matchless voice as an instrument - to bring a message of brotherhood among nations and dialogue among different cultures.
Eugene Ormandy (November 18, 1899 – March 12, 1985) was a Hungarian-born conductor and violinist who became internationally famous as the music director and conductor of the Philadelphia Orchestra. The maestro's 44-year-long association with the Philadelphia is one of the longest enjoyed by any conductor with a single orchestra. Under his baton, the Philadelphia had three gold records and won two Grammy Awards.
Stereo recordings from the early 1960s. Everyone has sentimental favorites, and this set is one of mine. Yes, the ensemble has a few rough spots now and again—nothing serious—but the playing has such warmth and emotional generosity, that bigness of spirit that’s so often forgotten in today’s Beethoven performances. The Budapest Quartet clearly frames its view of the composer in terms of the great, late quartets. So Op. 18, cultured and intelligent thought it is, could do perhaps with a touch more energy in spots, a leaner basic sonority. But once we hit the great middle quartets it’s smooth sailing right through to the end.
Nikolaus Harnoncourt and his period orchestra, Concentus Musicus Wien, never recorded a complete cycle of the symphonies of Ludwig van Beethoven, and this 2016 Sony release is their only recording of the Symphony No. 4 in B flat major and the Symphony No. 5 in C minor, made almost ten months before the conductor's death. Harnoncourt planned for this to be his last recording before his retirement, so it inevitably has the feeling of a valedictory performance, and one can also hear it as the orchestra's warm tribute to its leader and his sterling musicianship.
Veteran Austrian pianist Rudolf Buchbinder has turned in mid-career to live recordings, believing that the live situation makes possible a greater degree of spontaneity. In solo repertoire this has sometimes led him to follow his impulses into bold, unexpected interpretations. Here, in Beethoven's five piano concertos, there's less of an opportunity to color outside of the lines, even though Buchbinder serves as his own conductor (a tall order in Beethoven in itself). Yet his approach still works very well. He may deserve credit right off the bat for getting the sometimes recalcitrant Vienna Philharmonic Orchestra to go along with what he's doing; the performances have a satisfying unity between soloist and orchestra.