Michael Scot Rohan

American star tenor Michael Fabiano presents a spectacular set of scenes taken from late Donizetti and middle Verdi operas, revealing the strong ties between these two composers. The album documents a paradigmatic shift in Italian opera, from the beautiful lines and crispness of belcanto to a richer, more dramatic musical universe. The historical line stretches from Donizetti’s Lucia di Lammermoor, Poliuto and Maria di Rohan to mature Verdi operas such as Rigoletto, Un ballo in maschera and Don Carlos. In many cases, Fabiano has selected original, rarely-heard versions, including the thunderous ‘Qual sangue sparsi’ from the original St. Petersburg edition of La forza del destino.

"I had not expected quite such unabashed, rose-tinted lyricism from Anne Akiko Meyers. There’s more to her playing than plushy vibrato and mechanistic brilliance; not that exhilaration or panache are minimised here, in this glowingly Romantic performance. Her Franck, too, ably justifies a more reflective, even cerebral approach, further distinguished by the tonal opulence of the playing. Not a performance to induce surges of adrenalin perhaps, but eminently well conceived and lucid… this remains a splendid performance overall, thanks in no small part to pianist Rohan de Silva."

Charles Burney, the great English music traveller of the 18th century, was extremely positive about "Herr Kapellmeister Benda". His compositions his "new, masterly, and learned." Mozart, too, never made a secret of his high regard for Georg Anton Benda; he was well aware of how much he was indebted to the creator of the German Singspiel - right up to the "Magic Flute".

Rohan de Saram releases an album featuring the premiere recordings of works whch were both written for and premiered by the virtuoso cellist. Showcasing works by Richard Drakeford, Hilda Paredes, David Matthews and, the collection follows on from an earlier release [FHR49] and is devoted to works that were written for and were premiered by Rohan de Saram, his championing of new and unfamiliar music having been a hallmark of a career which now stretches back across six decades. A repertoire that is as extensive as it is varied in overall range, encompassing as this does many of those stylistic traits that have emerged during the post-war era and which here eschew the mutual exclusiveness that has too often proved an obstacle to the reception of contemporary music. A vindication, if such were necessary, of Rohan de Saram’s advocacy.