Don Lawrence

Of Rossini’s thirty-nine operas Il barbiere di Siviglia is the only one to have remained in the repertoire since its composition. When the composer met Beethoven in Vienna the great man told Rossini to only compose buffa operas like Il Barbiere. Verdi was also a great admirer of the work as he was of Rossini’s opera seria and particularly his William Tell. Il Barbiere was one of the works Rossini squeezed in during his contract as Musical Director of the Royal Theatres at Naples and where he was supposed to present two new works every year.

Rossini’s classic take on the “Cinderella” story is a comic opera full of thrilling arias, beautiful melodies and lots of laughs. The Metropolitan’s charming production was revived in 2009 for star mezzo, Elīna Garanča. The mezzo triumphs in the role and dispatches vocal fireworks throughout. She is joined by American tenor Lawrence Brownlee and a cast of bel canto singers.

After having recorded La Fanciulla del West, conductor Lawrence Foster now expands his Puccini discography on PENTATONE with Madama Butterfly, together with the Coro & Orquestra Gulbenkian, as well as Elisabeth Kulman (Suzuki), Stefano Secco (Pinkerton), Lester Lynch (Sharpless) and Melody Moore (Cio-Cio-San) in the title role. Despite its disastrous premiere, Madama Butterfly has become one of Puccini’s most successful and popular operas. While the Japanese ambience usually captures the attention, the original dramatic conception and exceptional symphonic qualities of the work are often overlooked. Lawrence Foster’s interpretation brings out the symphonic character of the opera, while Melody Moore’s charismatic interpretation of the title role fully realizes the work’s tragic and dramatic potential.

Vol. 3 of Lawrence Power's survey of the complete Hindemith work for viola features a cluster of works written for viola and orchestra in the short time between 1927 and 1930. Though Hindemith did not write a traditional concerto in the classical sense, the Op. 48 Konzertmusik, Kammermusik No. 5, and Der Schwanendreher each put the viola's abilities at the forefront of the orchestra. His personal knowledge of the instrument's technical, lyrical, and emotive abilities become quickly apparent as the viola is made to scurry around as nimbly as a violin in Konzertmusik, as emotionally rich as a cello in Trauermusik, or as colorful and evocative as a piano in Der Schwanendreher. All of these many moods are captured effortlessly by Power. His playing balances the clarity needed to execute agile passagework with the richness and depth needed for more lyrical sections. What's more, Power never gives the appearance of trying to make the viola sound like a violin; instead, he celebrates the viola's idiosyncrasies and transforms them into a rich, satisfying tapestry of sound. Joined by the BBC Scottish Symphony Orchestra under David Atherton, Vol. 3 of Power's hefty undertaking is just as worthwhile and engaging as the previous two and is certainly worth checking out.

In 1942 The Musical Times reported a ‘grave loss’ referring to Walter Leigh’s tragically early death, killed in action whilst serving in a tank regiment near Tobruk, just before his thirty-seventh birthday. Though during his lifetime he was more than once compared to Sir Arthur Sullivan, from a contemporary standpoint an equally pertinent analogy could be drawn with a composer from a later generation, Sir Richard Rodney Bennett. Both men approached film music and ‘light music’ with the same seriousness of purpose and invested it with the same impeccable craftsmanship they brought to their concert pieces.

Melody Moore pays tribute to the legendary soprano Renata Tebaldi, presenting a selection of arias and scenes by Rossini, Verdi, Boito, Catalani, Puccini, Mascagni, Giordano, Cilea and Alessandro Scarlatti, documenting the most important stages in the career of “la voce d’angelo”. Moore performs these pieces together with the Transylvania State Philharmonic Choir & Orchestra under the baton of Lawrence Foster.

Like many of England's finest musicians, Andrew Lawrence-King began his career in choir school, serving as head chorister for the Cathedral and Parish Church of St. Peter Port, Guernsey. He took an organ scholarship to Cambridge University, where he read mathematics, but finished his studies in organ and voice at the London Early Music Centre. A party at a harpmaker's house gave the opportunity for Lawrence-King to own his first early harp, modeled after a Medieval Irish instrument.

This live recording of the two Shostakovich cello concertos continues audite's successful cooperation with Marc Coppey, who approaches both works with boundless energy and without any sentimentality.