Carlo Pagliai

Born in 1804, Louise Farrenc became a professional-standard pianist while still a teenager, and later music teacher to the household of the Duke d’Orléans and from 1842 professor of piano at the Paris Conservatoire. Her substantial legacy of composition was largely forgotten after her death in 1875 and is only now being revived. She wrote mainly in the field of orchestral and chamber music: ‘I would defy anyone,’ says the pianist Linda Di Carlo in a personal introduction to this new recording of Farrenc’s music for violin and piano, ‘to cast aspersions on the chamber music in particular on the grounds of her gender.’

Hailing from Mansfield, Missouri, Michael Sypres originally set out to pursue a career in musicals before singing opera. He comes from a family of musicians who run an opera company in Springfield MO, and after studying in the US, travelled to Europe to complete his studies in Vienna. He has rapidly established a formidable reputation for his sensitive singing and astonishing vocal range, with leading roles a the Royal Opera House Coven Garden, Lyric Theatre Chicago, Opéra de Paris and Aix-en-Provence Festival. In 2017, he appeared as Don José in Carmen in Paris and sang Enée, opposite Joyce DiDonato in Berlioz's Les Troyens in Strasbourg.

The case for Louise Farrenc no longer requires special pleading: she has emerged in the last decade as a major figure among French composers of the early-Romantic era, whose neglect in previous eras can only be understood in the context of her gender. Both live performances and recordings have revealed.

This is the second volume of Music & Arts' complete Scarlatti project performed by Carlo Grante. New Classics [UK] wrote of that release: Scarlatti's 555 keyboard sonatas are single movements, mostly in binary form…. Some of them display harmonic audacity in their use of discords, and also unconventional modulations to remote keys.