Though participants in the "authentic performance practice" movement might insist otherwise, the search for the old is really a search for the new. This statement certainly captures the spirit that Dutch keyboardist Gustav Leonhardt brought to his early music performances in the 1950s. His style was characterized not by a rigorous observance of rules, but by the intuitive, almost spiritual connection it tried to establish with the music a kind of authenticity that sought validation not so much from a rigorously academic accuracy (though Leonhardt is by no means historically careless) as from its having an "authentic" effect on the listener.
Led by Lorin Maazel, the Philharmonia Orchestra are captured at their very best in these live performances of Mahler's Nine Symphonies. Recorded in concert at London's Royal Festival Hall, the symphonies include performances by soloists and ensembles including Sarah Connolly, Michelle Deyoung, Philharmonia Voices and the BBC Symphony Chorus. Praise for these performances has been near universal…'You get that audience perspective as if you were sitting in the hall, and its got all the energy and focus of a live or concert recording.' (BBC Radio 3) '…Maazel could sustain this score in a way that seemed to transcend reality…a tremendously moving experience.' (Classical Source) 'an extraordinary reading of the Ninth…a performance touched by greatness.' (Musicweb International).
Quelques mois avant de mourir, Jung fit un rêve : installé à son bureau, il parlait, lui dont l’œuvre ne s’était jamais adressée qu’aux spécialistes, à un vaste public qui le comprenait parfaitement. Ce rêve le décida à écrire le présent Essai d’exploration de l’inconscient qui allait lui permettre de dégager l’importance primordiale de la vie inconsciente dans l’accomplissement de l’individu moderne et de la société…
Alzira is based on the play by Voltaire and displays the composer's maturity through glowing lyric moments, and the weaving together of complex emotional and musical strands.
All act with conviction as they are singing and bring good expression and diction to their roles…In the title role, Junko Saito sings with warm expressive tone, good diction and also acts with conviction. (MusicWeb International)
Pygmalion, c'est Narcisse créateur. Au lieu de s'éprendre de lui-même dans son propre reflet, il s'éprend de lui-même dans son reflet "second", sa création. S'adressant à la statue, Pygmalion chante : "Se peut-il que tu sois l'ouvrage de ma main ?" Poser la question, c'est y répondre. Apothéose de l'autosatisfaction.