In May of 2015, violinist Anne-Sophie Mutter gave a truly unique concert: rather than standing on stage in one of the world’s renowned well-tempered grand concert halls, she spent two evenings playing in a tiny graffiti-scrawled nightclub in Berlin. Recorded in front of a standing-room only audience, this new release includes popular works by Bach, Copland, Gershwin, Tchaikovsky, Vivaldi and many more. Mutter is joined by Mahan Esfahani, Lambert Orkis and the Mutter Virtuosi.
Director and violinist Amandine Beyer acknowledges in her booklet notes for this disc that the world may not seem to need another recording of Vivaldi's The Four Seasons, but then she tops the bar she has set up by delivering an entirely distinctive reading of the work. Her version, with the Italian historical-instrument group Gli Incogniti (who are not quite as unknown as all that), is as strikingly revisionist as the various turbo-powered, operatic Vivaldi recordings that began coming out of Italy in the 1990s, but it is different in flavor. In her own words, Beyer seeks "lightweight forces and freedom of phrasing." The group is small, with microphones put down right in the middle, and you hear lots of internal lines and interplay rather than contrast between orchestra and soloist.
This EMI release of The Four Seasons gives violinist Sarah Chang top billing (as would be expected) and the Orpheus Chamber Orchestra a smaller, less significant listing. As far as the quality of performance goes, however, Orpheus should absolutely be considered the star of this recording with Chang getting the footnote instead. This is simply not the case; from the ridiculously posed glamour photos filling the liner notes to the balance of the performance itself, this album is all about Chang. The most fulfilling aspects are the orchestral tuttis. Orpheus is truly at its best here, playing with as much energy and passion as the much ballyhooed recording with the Venice Baroque Orchestra.