Fifteen years after his recording of Bach’s three Sonatas for viola da gamba and harpsichord (on hm, with Rinaldo Alessandrini), Paolo Pandolfo returns to this repertoire a new approach: the fruit of active and concentrated years of consideration, study and research into the inherent possibilities of his instrument. Given the basic differing natures of these two instruments, the performance of these works very often turns – in Pandolfo’s words – into a “musical argument”, rather than what is demanded by the music’s essential nature: a “musical conversation” in which the score achieves “transparency and eloquence”.
]Yoshikazu Mera born May 21, 1971, in Miyazaki, Japan, is a Japanese countertenor. His range is three and a half octaves. Originally wanting to become a pop singer, Mera now primarily sings classical music from the West but also classical Japanese music. He appears frequently as a soloist with the Bach Collegium Japan, which under its conductor Masaaki Suzuki performs Baroque music. His 1998 recital disc "Nightingale" on Sweden's BIS Records was a major success in Japan.
Jussi Björling was one of the strongest and steeliest lyric tenors of the 20th century, as famous for his Rodolfo in La Boheme as he was for his Calaf in Turandot. This superbly engineered survey of his early career takes us from 1936 to 1948, and covers, for the most part, his standard repertoire of French and Italian music–extracts from Aida and from Faust, and from both Massenet's Manon and Puccini's Manon Lescaut. He was a singer equally at home with the elegances of bel canto and with the passionate sorrows of verismo–he is particularly fine in "Vesti la guibbia" from Leoncavallo's Pagliacci… –Roz Kaveney