"Vienna" was a kind of Japanese super-group because of inclusion of 4 musicians who used to play in popular prog-rock bands: Yukihiro Fujimura ("Gerard"), Shusei Tsukamoto ("Outer Limits"), Toshimi Nagai ("Afflatus" & later also "Gerard") and Ryuichi Nishida ("Novela" & "Mugen"). What could go wrong with such splendid line-up…
''A centenary journey 1900-2000'' illustrates a century of jazz from 1900 until 2000 beginning with Rag Time until today’s Grooves. Each decade relates to a specific style. From 1970 on the acoustic rhythm section is replaced by the electric rhythm section by the masterly drummer Thomas Lang. The program is presented in the course of the European tour at the following festivals: JVC Festival Paris, Jazz-no-Jazz Zürich, Sarajevo, Bolzano and Leverkusen.
The glamorous young French coloratura stunned everyone at the EMI Gala at Glyndebourne in 1997 with a dazzling rendition of Cunegonde’s ‘Glitter and be gay’ from Bernstein’s Candide: it was an unexpected choice but Dessay delivered it with such wit, needle-point precision and sheer insouciance that she won all hearts. Why she has yet to appear in either a Glyndebourne or Covent Garden production – though debuts are planned in both theatres for 2002 – is one of the great mysteries of British operatic life, for Dessay, as her EMI album of French operatic arias (5/97) amply demonstrated, is an acclaimed star in Vienna, Salzburg, the New York Met and, of course, the French capital, where she is something close to a cult figure.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.
Nicola Porpora, a contemporary of Bach, Handel, Vivaldi, and Haydn (and a very young Mozart) is best remembered today as a famous singing teacher and opera composer. During his long career (he lived to age 81) he suffered many employment-related difficulties and disappointments that caused him to move frequently. Naples (where he was born), Venice, Dresden, and Vienna (where he taught Haydn) all enjoyed Porpora's reputable presence, and he even spent a period in London at the behest of a group seeking to unseat Handel and his opera company from its preeminent position. In addition to his operas and vocal music, Porpora wrote instrumental works such as the six violin sonatas featured here, which are drawn from a set of 12. Although anyone familiar with Italian Baroque and early Classical-style solo violin music will discover nothing particularly original on this generally fine recording, if you enjoy that genre and period you'll find much here to indulge and satisfy your taste.
Krenek’s Karl V is the kind of opera that can be appreciated on several different levels. (…) Remarkably, it’s the earliest large-scale opera to use the 12-note system, though Krenek triumphantly refutes the notion that adherence to this technique inhibits creativity and emotional power. The composer’s widow has claimed that this performance, recorded in connection with the Beethoven Festival in Bonn last year, is by far the finest she has ever heard. With wonderful singing from David Pittman-Jennings as Karl and superb commitment from conductor Marc Soustrot and his fine orchestra, there is little reason to disagree with this verdict.
The epic grandeur of Der Rosenkavalier stems not just from its immense length (over three hours) but from the all-too-human complexity of its characters–each of whom is smitten with someone else–and the endless stream of graceful melodies the composer conjures. After the tonality-stretching dissonance of Salome and especially Elektra, Strauss moved onto a different musical path here: the music's sheer gorgeousness has given this most heartbreaking of 20th-century operas its pride of place in the repertory.