The Symphony receives a particularly warm and beautiful interpretation. DePreist has a sympathetic feeling for contrasts of textures; the tempi are excellently judged and atmospheres powerful, with a vigorous sense of energy, tension and release. The Sea Hawk, though, is allowed to wallow. Particular poignancy is added through the presence of Korngold’s granddaughter Kathrin as a violinist member of the orchestra.
Although Korngold’s ‘complete works for violin and piano’ make up a reasonably full disc, it is only fair to point out that the Violin Sonata is the single work that is not an arrangement from one of his other pieces. Yet this Sonata, written at the age of 15 for Carl Flesch and Artur Schnabel no less, is a fine example of his early style, with its echoes of Zemlinsky and early Schoenberg. The young Dutch violinist Sonja van Beek and German pianist Andreas Frölich negotiate its challenges with ease: as in Rachmaninoff’s Cello Sonata, the pianist has as tough a role as the melody instrument. Much Ado about Nothing is one of several arrangements of a suite of four movements derived from incidental music to Shakespeare’s play written in 1918, performed here with affection and a silken suavity. The remainder of the repertoire is made up of arrangements of Korngold lollipops, hit numbers from his operas, such as the unforgettable ‘Marietta’s Lied’ from Die tote Stadt, arranged by the composer as salon pieces and popularised by Kreisler and his ilk.
Lotfi Mansouri's spectacular last production as General Director of San Francisco Opera with Yvonne Kenny making her debut in the title role, new dialogue specially commissioned from Pulitzer Prize-winning playwright, Wendy Wasserstein, and an original ballet to set the scene Chez Maxim's, bringing fresh insight into Lehár's classic operetta.