Vinyl LP pressing. Bringing together the last sessions of Django Reinhardt for Decca and Blue Star, recorded in Paris from January to April 1953, shortly before his passing at the age of 43. Remastered from the original master tapes and presented on standard black vinyl.

... The sound of 35 women's voices has a beautiful balance. The Rheinberger choral pieces are rendered here clearly and are dynamically very rich in shading.

Nearly every music lover is acquainted with Der Freischutz, but the fewest are aware of Euryanthe. In the light of the musical quality of the opera, the disdain for it does not seem fitting. Euryanthe was Carl Maria von Weber’s most ambitious project, one that anything but backfired. The composition may certainly be termed ground-breaking and truly deserves more attention. “A chain of glittering jewels from the beginning to the end. All witty and ingenious,” (Robert Schumann in his critic about Euryanthe.) The present release features a live recording of the work, which was taken in December of 2018 and features the Arnold Schoenberg Chor and the Orf Vienna Radio Symphony Orchestra, as well as a group of brilliant soloists.

Also available on Blu-ray

Weber’s ‘great heroic-romantic’ opera Euryanthe premiered in Vienna in 1823. It concerns the wronged Euryanthe, victim of a plot to establish her unfaithfulness, but her love imbues her with colossal strength which Weber characterizes with acute psychological insight. Through-composed and dispensing with spoken dialogue, its chivalric plot provides opportunities for a series of arias, ariosos, duets, cavatinas and choruses that contain some of his greatest operatic music. This production employs the opera’s original version with a few, very minor cuts.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Weber’s ‘great heroic-romantic’ opera Euryanthe premiered in Vienna in 1823. It concerns the wronged Euryanthe, victim of a plot to establish her unfaithfulness, but her love imbues her with colossal strength which Weber characterizes with acute psychological insight. Through-composed and dispensing with spoken dialogue, its chivalric plot provides opportunities for a series of arias, ariosos, duets, cavatinas and choruses that contain some of his greatest operatic music. This production employs the opera’s original version with a few, very minor cuts.

Classical Music

Aïda Stucki's recognition as an artist is both inevitable and overdue. Her artistry is a timeless inspiration. Her interpretation incorporates bewitching sound, personal instinct coupled with great insight to the wishes of the composer. These recordings are a must for any string player and music lover. This second volume of her works shows her broad repertoire, and includes works from Brahms, Schumann, Haydn, Mozart, Beethoven, and Dvorak.

Also available on Blu-ray

Erich Wolfgang Korngold was a child prodigy whose early genius was recognized and admired by the likes of Gustav Mahler and Giacomo Puccini. His musical style, deeply affected by music for the theatre, possessed great lyrical breadth; he managed to develop his own voice by blending all the different influences he absorbed in Vienna during his studies. The advent of Nazism in 1934 forced him to seek refuge in the United States, where he became the first composer of film scores, winning two Oscars and marking a milestone in the Hollywood film industry. Teatro Regio di Torino has contributed to the rediscovery of this precious one-act opera by staging its Italian premiere. Violanta is Korngold's second opera, which the composer wrote in 1914 at the age of 17. It was premiered with great success at Munich’s Hoftheater on 28 March 1916, and a few days later in Vienna. The influence of the Austrian capital is key to understanding Korngold’s style. From the late 1800s to the early 1900s Vienna was a place of contrasts: nostalgia for the past and innovative trends; conservatism and creative energy. Korngold grew up in this environment, absorbing various influences which are all present in Violanta, making this opera a sort of 'small-scale Vienna'. Pier Luigi Pizzi, stage director, costume and lighting designer for this production, chose to set the action at the beginning of the 1920s in a decadent Venice, where distant echoes of a melancholic Carnival add a sense of gloom to the whole performance.

Erich Wolfgang Korngold was a child prodigy whose early genius was recognized and admired by the likes of Gustav Mahler and Giacomo Puccini. His musical style, deeply affected by music for the theatre, possessed great lyrical breadth; he managed to develop his own voice by blending all the different influences he absorbed in Vienna during his studies. The advent of Nazism in 1934 forced him to seek refuge in the United States, where he became the first composer of film scores, winning two Oscars and marking a milestone in the Hollywood film industry. Teatro Regio di Torino has contributed to the rediscovery of this precious one-act opera by staging its Italian premiere. Violanta is Korngold's second opera, which the composer wrote in 1914 at the age of 17. It was premiered with great success at Munich’s Hoftheater on 28 March 1916, and a few days later in Vienna. The influence of the Austrian capital is key to understanding Korngold’s style. From the late 1800s to the early 1900s Vienna was a place of contrasts: nostalgia for the past and innovative trends; conservatism and creative energy. Korngold grew up in this environment, absorbing various influences which are all present in Violanta, making this opera a sort of 'small-scale Vienna'. Pier Luigi Pizzi, stage director, costume and lighting designer for this production, chose to set the action at the beginning of the 1920s in a decadent Venice, where distant echoes of a melancholic Carnival add a sense of gloom to the whole performance.

The conductor Jérémie Rhorer is today regarded as one of the finest interpreters of the music of Mozart in general and his operas in particular. After conducting Die Entfu?hrung aus dem Serail at the Festival d’Aix-en-Provence in 2015, he performed it again at a memorable concert at the Théâtre des Champs-Élysées in Paris in September of that year with his orchestra, Le Cercle de l’Harmonie. It is this exceptional event, captured in a live recording conveying all the dramatic intensity of the opera, that we present today.

‘In Die Entfu?hrung, Mozart presents a completely unprecedented vision of the singspiel, with highly developed ensembles and musical continuity at a time when contemporary spectators were expecting the standard alternation between spoken and sung sections’, says Jérémie Rhorer in the interview that accompanies the discs. That musical dramaturgy lies at the centre of this interpretation, which is served by an outstandingly homogeneous cast.

This recording launches a series of recordings of concerts at the Théâtre des Champs-Élysées and a collaboration between Alpha Classics and Le Cercle de l’Harmonie, who will continue to place their excellence at the service of the great masterpieces of Mozart.

Two highly dramatic short works by Monteverdi, Combattimento di Tancredi e Clorinda and Ballo delle ingrate are performed by distinguished French soloists with Jean-Claude Malgoire directing La Grande Ecurie et La Chambre du Roy.

Classical Music

Strange how fashion moves on. It has left any piece for solo instrument and orchestra having the effrontery to call itself anything other than concerto in the wasteland. Such pieces now have a life on CD alone except for the rarest concert exceptions and competitions (and then usually in a version with piano). So be it. Though it is strange that when the public is more easily captivated by the 3 minute sound-byte that these shorter pieces are not more popular in concert.

These bon-bons are dispatched with affectionate zest by Rosand who plays them for every subtle turn and dexterous twist and every gramme of neon excitement. He is in total rapport with his orchestra and conductor. The recordings are all excellent given their twenty years worn lightly except for the harsh Berliox Reverie et Caprice.

The Northern sun and moon play in brilliantly poetic limelight over the Sibelius Humoresques. I learnt these utterly lovable pieces from this recording when it was issued with a recording of Nielsen's Symphony No. 6 on Turnabout LP. These are the distilled quintessence of Sibelian temperament - romance in all its cool lunar intensity. The benign Tchaikovsky Serenade is done with meditative reserve. The brash edge on the solo violin in the Berlioz piece compromises what is otherwise a sentimentally doleful performance. The Saint-Saens Introduction and Rondo Capriccioso has been well done by many violinists (Ulf Hoelscher is one of my favourite recordings - EMI). Rosand turns in an exotic performance - accented balletically and not short on crackling energy bursts. In the case of the rather revolutionary Chausson Poème I have recently heard the Vadim Repin version on Teldec and prefer the richer air brought about through the plusher modern EMI recording. The Chausson is a terribly neglected work forward-looking, meditative, with touches of Delius. Hearing the Rosand again I am torn. Rosand seems to put his all into this music and it pays in dividends of eloquence. The Ravel Tzigane I first heard during the early 1970s on a Philips Universo LP played by Arthur Grumiaux - a most affecting performance more effective, I thought, in its fanciful introspection than in the flyaway acrobatics. Rosand is good in both.

The second disc breaks the mould by including a work which calls itself 'concerto'. Saint-Saens' Third is a true warhorse having been much recorded by all and sundry amongst the violinistic brethren. The three Saint-Saens concertos have charm, Beethovenian gravitas (from the violin concerto, that is) and some flashy witchery but they lack the exoticism of the Caprice Andalou (would that Rosand would tackle that work!), the Havanaise, and the Introduction and Rondo Capriccioso. Rosand matches the requirements of this work most beautifully but I do not find this concerto the most involving of pieces at the best of times lacking the very melodic distinction that marks out his second piano concerto and third symphony. It always strikes me as a work that is going through the romantic motions.

The Havanaise is a different matter altogether and while I have fond memories and great affection for the Leonid Kogan version Rosand is all quiet grace, restful smiles, sprinting brilliance, sparks flying everywhere. Next time Class Fm (or its equivalent elsewhere ) wants to try a soupçon of soothing music which has true character they should reach for this track. A recording and performance to count alongside the best. You will want to play it again and again.

From Havanaise it is a natural progression to move to Lalo's once ubiquitous Symphonie Espagnole. With its glaring Brahmsianisms, stock Spanishry, deep reserve of charm and mercurial mood changes it is a work still capable with small effort of winning friends. I wonder what would have happened if Lalo had just called it a concerto. By the way the Rhapsodie Norvégienne is also well worth seeking out. I remember it being coupled with the Martinon recording of the Namouna suites and making quite a splash. The Repin on Teldec is a richer recording but for the same price you can have Rosand and almost three times as much music as the Teldec offers.

There is some stunning playing on offer here: stunning both in the depths of expression and in spark-striking pyrotechnics. Recommended.

-- Rob Barnett, MusicWeb International

György Sándor Plays Bartók