Neyla Strau

Kathleen Battle In Concert has been a part of my classical listening experience for many, many years, and many, many repeated playings. Every time I play it, I feel real joy at hearing Kathleen Battle in the opening bars of Purcell's "Come All Ye Songsters."
Miss Battle brings a high level of musicality, an impeccable use of phrasing and some truly beatiful high notes to a wonderful mix of lighter art/love songs, and more serious, but very joyous gospel classics, as in her rendition of "He's Got the Whole World In His Hands."
It's been too many years since Kathleen Battle has recorded such a delightful recital album. If you're reading this Miss Battle, please please record another! We miss your voice greatly!!!

This version of The Queen of Spades was originally recorded in 1974 and made available as a special import; it was then generally released by Philips in 1988. Reviewing it at the time, AB gave a level account of its strengths, but had little difficulty in preferring the Tchakarov set when it was issued in 1990. Deleted by Philips, the Ermler performance has now been restored to the Melodiya catalogue. I cannot see anyone dissenting from AB's view: certainly I do not, except perhaps to regard him as being over-generous in his account of Atlantov's Herman in calling it ''loud and unsubtle''. Stronger words would also be appropriate, especially when Atlantov is compared with the sensitive Wieslaw Ochman on the Tchakarov set. Valentina Levko is a good Countess in what is a well-established Russian tradition of responses to the role: AB thought the old lady's reminiscences not so pointedly delivered as by some other singers, and I would add that she would certainly have acquired a better French accent during her long sojourn as the Venus of Paris.

For the first time ever, Richard Strauss’ songs can be heard in an arranged version for choir or choir and violin. Compiled from different opuses, including Vier letzte Lieder op. 150, the KammerChor Saarbrücken and their conductor Georg Grün present several famous songs in a new guise. Franz Zimnol’s and Clytus Gottwald’s transcriptions approach Strauss’ compositions in different ways, all of them providing new listening impressions as well as perspectives on the original.

The new album III is audacious: every note, every syllable, and every moment of silence in between is emotionally charged. The album is darker in tone than previous albums and is presented in three chapters, with each one centering on one main character from a fictitious family known as the Sparks, who span three generations in the album’s storyline. III’s concept began while the band was writing in the Catskill mountains, where producer Simone Felice works. Mixing raw emotional themes with their ear-catching melodies, expressive vocals and trademark acoustic sound, III moves masterly in artistic directions not yet traveled by the band.