Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.
The present recording of the Piano Concertos KV 466 & 467 is the starting point for the complete collection of Mozart piano concertos to be issued by the label Accent. Arthur Schoonderwoerd, in great demand as a hammerklavier performer, and his ensemble Cristofori play on authentic instruments of the period or modern reproductions. The string parts in the orchestral accompaniment are played by only one musician per part, producing a slender, transparent tone which supports the hammerklavier without ever dominating its fine tone.
“This is unquestionably the most vital and authentic account of Idomeneo to date on disc. We have here what was given at the work's first performance in Munich plus, in appendices, what Mozart wanted, or was forced, to cut before that premiere and the alternative versions of certain passages, so that various combinations of the piece can be programmed by the listener. Gardiner's direct, dramatic conducting catches ideally the agony of Idomeneo's terrible predicament – forced to sacrifice his son because of an unwise row. This torment of the soul is also entirely conveyed by Anthony Rolfe Johnson in the title role to which Anne Sofie von Otter's moving Idamante is an apt foil. Sylvia McNair is a diaphanous, pure-voiced Ilia, Hillevi Martinpelto a properly fiery, sharp-edged Elettra.
The debut album “Litanies from the Woods” includes ten tracks and is a well-balanced combination of hard rock, progressive rock, psychedelia, blues and southern rock with a dreary and vintage 1970s atmosphere…
Marking 50 years since the death of French composer Francis Poulenc, star soprano Patricia Petibon is the soloist in new recordings of his most rapturously beautiful sacred works; “Gloria” and “Stabat Mater”. Conductor Paavo Järvi also makes his DG recording debut, conducting the Orchestre de Paris and their renowned choir.
In their first release on harmonia mundi France, Sébastien Daucé and his musicians present a sumptuous interpretation of the six-voice motets composed by Marc-Antoine Charpentier for the House of Guise. These works, headed by the Miserere, constitute an unexpected parenthesis in the music of the Grand Siècle. The creative genius, the inwardness and the intense fervour of a composer surrounded by his faithful company of singers and instrumentalists speak to us all the more intimately because Charpentier appears here as both copyist (the surviving scores are in his handwriting) and performer – he sang the haute-contre part.