Mozart

Mozart's genius in setting to music Da Ponte's comic play of love, infidelity and forgiveness marks Così fan tutte as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful production for the Glyndebourne Festival in 2006, with its sure touch and theatrical know-how, lives up to its promise to be 'shockingly traditional', while Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.

Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music.

Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music.

Wolfgang Amadeus Mozart's Serenades and Divertimenti for orchestra epitomize his genius in crafting delightful and charming works, musical entertainment at the highest level. Composed during the late 18th century, these pieces showcase Mozart's unique ability to blend sophistication with accessibility. The Serenades, such as the renowned Eine kleine Nachtmusik, Haffner Serenade and Posthorn Serenade, enchant listeners with their graceful melodies and elegant structure. Divertimenti like the "Salzburg Symphonies" radiate exuberance through their lively rhythms and playful themes.

Roxanna Panufnik’s ongoing mission to build musical bridges between different faiths was inspired by the birth of her first child in 2002, when she started to reflect on the world she was bringing her baby into. Religious conflict and wars caused by it are constantly in the news – but we rarely hear enough about the affirmative aspects of our many faiths, such as the phenomenal beauty of the varied cultures surrounding them. By exploring these cultures, Panufnik has been able to unearth a bounty of stunning chant and verse and has been brought closer to her own personal spiritual beliefs.

Is there a subgroup of works among the creations of top composers that has been more neglected than Mozart's songs? They're neglected partly because they're a very mixed bag; they were mostly composed for specific purposes, and they don't develop as a group in an orderly way as do, say, the piano concertos. At any rate, any new recording of Mozart's songs is good to have – the album title referring to "Lieder" is a bit misleading, for there are songs in French and Italian here as well as German.

Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid.

This is the kind of package which represents the best of the Philips Classics Duo series. Slightly older recordings, but in beautiful, clear, warm analogue sound; artists of the old school and the first rank; a compilation of potentially neglected music made available absurdly cheaply in attractive packaging with high production values and intelligent notes; what's not to like?

Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolò Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician, and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation.