Among modern recordings of the opera, this one is a safe bet, assuming you want a safe version of this opera. Unlike Herbert von Karajan's oppressively string-heavy reading with the Berlin Philharmonic on EMI, this is a balanced, idiomatic account of the score, given a special luster by the Montreal Symphony Orchestra's coloristic instincts and the warm recording acoustic at St. Eustache Church. Conductor Charles Dutoit has a fine instinctive feel for Debussy in general and this score in particular. The singers in the title roles–Didier Henry and Colette Alloit-Lugaz–have both come to terms with the opera's enigmatic dramaturgy. However, it's very much a symphonic rather than operatic performance, clearly a product of the recording studio rather than of the stage.
No sooner had Sibelius moved to the town of Järvenpää in 1904 than he was commissioned by the Swedish Theatre to write incidental music for Maeterlinck’s Pelléas et Mélisande. At the time it was his most ambitious undertaking in the genre of incidental music and his setting included ten scenes, only one of which was cut when he adapted the piece as a concert suite. Dating from the same year, Musik zu einer Szene was originally intended to accompany a tableau and is full of striking contrasts. The two waltzes of 1921 are transcriptions of piano pieces, and reveal the potent influence of Tchaikovsky.
The Pelléas Ensemble’s debut album illustrates the many possibilities offered by the unique combination of flute, viola and harp. It presents a rich and expressive collection of repertoire spanning three centuries. Debussy, Rameau and Bax all shared an appreciation of science and nature which they combined in their art with elements of improvisation, mystery and spirituality. Sir Richard Rodney Bennett illustrates the myth of Syrinx – a story of unrequited love and metamorphosis – through his own transformation of the music of Debussy. Composed for the Pelléas Ensemble in 2017, and recorded here for the first time, Scherzo by Benjamin Graves provides a vibrant and original exploration of the dramatic possibilities of all three instruments. The Pelléas Ensemble have made a name for themselves through their intimate, honest music-making, and ambitious programming. Through this album they demonstrate the versatility of the ensemble; each instrument has a chance to celebrate its distinctive voice, whilst multifarious textures and colours are afforded by the three together.
The debut solo album by Steven Wilson is quite simply an essential release, a huge sonic adventure recorded all over the world and featuring many guest musicians. Disc one is the already acclaimed 10 track album on stereo CD, and disc two is a DVDA containing the album in higher resolution 24 bit stereo and 5.1 surround sound (in high res DVDA and DTS version compatible with any DVD player), an 18 minute extract from ‘Insurgentes’ film, and 2 album trailers.
As modern progressive rock’s undisputed figurehead and chief workaholic, Steven Wilson has little to prove, and yet his fourth solo album is anything but a cosy reassertion of values. In contrast to his much-lauded Victorian ghost-stories set The Raven that Refused to Sing from 2013, Hand. Cannot. Erase. is an album rooted in sonic and spiritual modernity, largely eschewing early prog tropes in favour of an inventive blend of bleak and brooding industrial soundscapes and rugged, muscular ensemble performances from Wilson’s virtuoso henchmen.
In his Soundstage special, Brian Wilson performs hits from his illustrious award-winning career as a Beach Boy, as well as selections from his new album No Pier Pressure. Joined by friends old and new, this two-disc CD/DVD combo pack features Brian's Soundstage special plus bonus songs and more!