Leonore

Chill smooth-jazzpop sound is the best description of the debut album Reckless Smile Sazz. Most of the songs are composed by Pete Souer and Vincent Degiorgio (including Caro Emerald), Mary Applegate and Joan Gannij sign for the texts. Sazz on her debut album, "Fourteen songs have a wonderfully relaxed and sultry jazz vibe and each number is unique.

If the name of Henry Charles Litolff is familiar today only through the scherzo of his Concerto symphonique No 4, the absurdity of that ‘one-hit composer’ tag is clearly demonstrated by this release. These are among the finest examples of the piano trio genre still inexplicably absent from the standard repertoire.

If the name of Henry Charles Litolff is familiar today only through the scherzo of his Concerto symphonique No 4, the absurdity of that ‘one-hit composer’ tag is clearly demonstrated by this release. These are among the finest examples of the piano trio genre still inexplicably absent from the standard repertoire.

Rimsky-Korsakov described Taneyev’s best music as possessing ‘a wealth of beauty and expressiveness’, a verdict with which no one is likely to disagree after hearing the piano trio recorded here. Rimsky was (unjustly) disparaging towards his own, unfinished, trio, which emerges as a brooding, substantial work well worthy of revival.

"Grand Prix du Disque" Hermes Opernlexikon: "A hitherto unsurpassed, perhaps even perhaps even the best recording to date the Ludwig, Vickers and Berry offer acoustically exciting acoustically exciting, melodious music theater klemperer has the great breath for this music and never klemperer has the great breath for this music and never Places."

Christa Ludwig She is the charm, the style and the spirit of Vienna personified. This great Mozartian and Straussian mezzo-soprano made her mark over fifty years, on stage and on record. Her father was a tenor, her mother a famous mezzo-soprano who sang Fidelio, Elektra or Azucena under Karajan's baton at Aix-la-Chapelle. She was Christa's first teacher and it is thanks to her that she learned all the dos and don'ts of singing. She made her début at the age of 18 in the Viennese operetta which was then playing in all the biggest German theatres, as was the rule at the time. In 1955, she joined the troupe of the Vienna Opera, of which she became the Kammersängerin, a prestigious distinction awarded to singers in theatres in the German-speaking world.