Jacques Offenbach had already achieved fame as an operetta composer by 1866, but that year’s premiere of La Vie parisienne was his first portrayal of contemporary Parisian life. With its tale of romantic intrigues, disguises and comic celebrations of the mad gaiety of life in the French capital, La Vie parisienne became popular in the nation’s theatres, but not after a hasty re-working of its final acts after protests from the original performers. With significant new musical discoveries and the final acts restored, this opéra-bouffe masterpiece now speaks for itself given the resources of a superb cast and Christian Lacroix’s colourful and much acclaimed Bru Zane France production.

A meaningful and brilliant tribute to a great artist from one who has the making of one. A joy from start to finish.

On his PENTATONE debut album Hommage à Horowitz, pianist Maxim Bernard revives Vladimir Horowitz’s legendary 1986 Moscow concert with a programme containing gems by Scarlatti, Mozart, Schubert, Schumann, Chopin, Liszt, Moszkowski, Scriabin and Rachmaninoff. While Horowitz’s wife Wanda Toscanini called the Moscow concert the summit of her husband’s career, Maxim Bernard sees it as “a defining moment of his existence, in which charm, elegance, poetry and bravura are marvelously brought together.” Bernard compares Horowitz’ carefully curated musical program to the way one prepares a gourmet meal, and aims to give it a second wind, presenting it from a new angle, in light of his own personality. Maxim Bernard is a versatile musician who adores challenges, and is praised for his original ideas and innovative thematic concert programs.

REVIEW:

This well-presented tribute to Horowitz concentrates on pieces favored by the master. There are several photographs of the pianist, and notes are supplied for each of the works. There is no real background on the pianist. I’d prefer to think of that as humility. Also missing is any mention of the piano. I suspect it is a Steinway since Horowitz usually performed on one. 

The recital begins with three Scarlatti Sonatas in gentle, predominantly lyrical performances. This is followed by Mozart’s Sonata, K330, played with admirable expression and control. A sequence of Etudes by Rachmaninoff and Scriabin show tonal quality of considerable beauty, as does Schubert’s Impromptu D 945:3. At this point I released my critical faculties to luxuriate in the sheer beauty and comfort emanating from my speakers. Bernard makes little attempt to imitate Horowitz’s playing. He is his own man, and the sheer listening satisfaction elicits a smile from my sometimes stoic expression. Two Liszt pieces including the Petrarch Sonata 104 are followed by two Chopin Mazurkas and the ever popular Polonaise in Aflat. All are stylistically correct, and fully met my expectations with a natural use of rubato and brilliantly executed embellishments. Three of Horowitz’s favorite encores complete the program with style: Schumann’s `Traumerai’, Moszkowski’s `Etincelles’ and Rachmaninoff’s Polka de W. R. Nothing is pushed beyond virtuosic limits, but all comes together in a meaningful and brilliant tribute to a great artist from one who (on the basis of what is heard here) has the making of one. A joy from start to finish.

-- American Record Guide

In this, the 2011 Latin Grammy‐winning Brazilian Guitar Quartet’s sixth Delos album, the ensemble pays homage to its rich and varied heritage as exemplified by the music of Spain – which, in turn, gave rise to Latin American music. + The album’s eighteen bewitching selections – mostly dances – are derived primarily from piano works by six of the best-known 20th century Spanish composers. + The BGQ offer the richest sonic depth and range of any guitar quartet thanks to the use of two eight‐string guitars.

Ian Hart, Tim Pigott-Smith, Claire Skinner, Jack Davenport, Frank Finlay, Fenella Woolgar, Lucy Akhurst, Leo Bill, Peter Hanson, Robert Glenister, Anton Lesser. Orchestre Révolutionnaire et Romantique / Sir John Eliot Gardiner

By the time the first public performance of Beethoven’s Symphony No.3 (Eroica) took place in Vienna in 1805, a privileged few had already heard the work at a private play-through at the Lobkowitz Palace in June 1804.
Nick Dear’s award-winning period drama, starring Ian Hart as Beethoven, brings to life the momentous day that prompted Haydn to remark ‘everything is different from today’. Filmed in 2003.

Running time: 129 mins
Region Code: All regions
Picture format: 16:9 Anamorphic
Sound format: LPCM Stereo/DTS
Surround Menu language: EN
Subtitle languages: EN/FR/DE/ES/IT

R E V I E W S:

"You could not hope for a stronger cast." -- The Times

"A clever and beautifully made dramatisation." -- Sunday Times

"This was thrilling stuff, as exciting visually as it was aurally." -- Sunday Telegraph

"Ian Hart is brilliant as Beethoven, a volatile, magnetic figure of genius and uncouth charm…not to be missed." -- Daily Mail

Eroica is a semi-authentic dramatized account of the circumstances under which Beethoven’s Third Symphony was unleashed upon an Austrian aristocracy ill prepared to comprehend it, worried over the politics of the French Revolution, and yet somehow aware that it spoke of a world to come that would no longer be theirs. In this effort, the production is a smashing success....

The backdrop is a first rehearsal of the “Eroica” at the Lobkowitz palace. In a large drawing room, the musicians and illustrious guests assemble. The musicians are none other than the members of the Orchestre Révolutionnaire et Romantique, gussied up in full 19th-century Austrian costume. It must have been a real challenge to play in those ruffled cuffs, vests, and heavily adorned jackets, but they manage quite well. For the sake of authenticity, I presume, the female members of the ensemble have been sent packing....

The real art of this film lies in its silent acting. For long stretches, there is no dialogue at all. As the music unfolds, the actors in turn are shot up close, reacting to what they are hearing through intense facial expressions. Some are deeply moving, even disturbing, as in the Funeral March movement, where the camera focuses its lens on Count Dietrichstein. Here is the macho military man who has only words of criticism and disdain for Beethoven’s new symphony (which he maintains cannot even be called a “symphony”), fighting mightily to hold back his tears as the music recalls for him fellow soldiers fallen in battle....

I have complained in the past that in many instances DVDs of concert events have not yet figured out what to do with the visual dimension of the medium. This production offers a novel approach, and it is one that I really like. Part concert (Beethoven’s score is given in full) and part movie, it doesn’t really provide a lot of insight into why the “Eroica” is such a revolutionary work, but it does provide a magnificent snapshot of the cultural milieu into which the symphony was born, and the profoundly sublime to the profoundly ridiculous feelings it must have aroused in its first listeners.

Separate tracks in surround sound are included if you wish simply to listen to the symphony without watching the video, although even these tracks display a running score (ostensibly Beethoven’s original manuscript) interleaved with shots of the orchestra playing. I’m not going to rate the performance itself, because that is not the reason for buying this DVD. Gardiner and these same forces already recorded the “Eroica” on regular CD. The DVD is not the same performance.

This Prix d’Italia award-winning film from the BBC is urgently recommended.

-- Jerry Dubins, FANFARE

This latest release in the Premium Composers Series features a program of the most famous and most beautiful symphonies of Franz Schubert.

Rimsky-Korsakov’s The Golden Cockerel (Le Coq d’or) is based on a Pushkin folk tale, but the opera’s Orientalism, comedy and sultry elements go far beyond its original influence. The composer saw in the story of a Tsar, punished for his cowardice and despotism, an opportunity to employ satire to condemn Russia’s autocratic ruler, Nicholas II. This new production premiered in May 2021 and was staged by the Australian director, Barrie Kosky, a specialist in Russian opera. Critics hailed the ‘glorious’ singing of Dmitry Ulyanov and the ‘exquisite’ performance of Nina Minasyan calling the event ‘a triumphant evening for all concerned’ (Bachtrack.com).

REVIEW

Dmitry Ulyanov is simply the best Dodon I have ever seen and heard... His singing is impeccable, sonorous and characterful… The rest of the Russian-speaking cast acquit themselves honourably. There may be a glut of recent Cockerel DVDs out there but this is one that cannot be missed.

--Gramophone

A few months ago, Avishai Cohen was releasing his symphonic album “Two Roses”, a “once in a lifetime project", he said. After a successful release and more than a hundred reviews around the world – the Israeli composer, singer, and bass player returns to jazz with a dazzling new trio: Elchin Shirinov, still on the piano and, on drums, the arrival of the young and incredibly talented Roni Kaspi, who joined the band during the 2021 summer tour. This new album “Shifting Sands”, recorded in August 2021, re-engages with this very special alchemy that Cohen’s music provides: fresh and expansive melodic lines, diverse and sophisticated rhythms and a musical elegance that only he can achieve.

REVIEW:

Consistency and excellence are two of the most fundamental requisites for achieving an optimal career in music. The Israeli bassist and composer Avishai Cohen has maintained those standards for many years, and his new trio emerges with a powerful offering that should reinforce his status as a jazz-based titan. This formation enlists familiar, longtime collaborator Elchin Shirinov on piano with a relative newcomer and recent Berklee graduate, 21-year old drummer Roni Kaspi. The results of their initial collaboration are stirring from start to finish.

Cohen's confidence in his team and his material is apparent from how often he remains in the background. On the opening "Intertwined," Shirinov sets the tone and gets the first solo while Kaspi snaps across the rims and cymbal heads in lead-type notation. Cohen does not come to the fore until two songs later, on the relaxed "Dvash," the first of three solo-type interludes, then demonstrates his proficiency on the bow during "Chacha Rom." "Hitragut" is a sweet summer song that lands like a Central Park serenade. Many pieces follow a basic structure that begins with one or two sharply repeated patterns, rolls into transitional overlaps, then returns along the opening framework in a formula that fits the album's title theme perfectly.

One of the most impressive things about this this exceptional record is how much masterful mileage each member gets from a relatively small number of notes or beats. Top rank creativity, aptitude, and technique are some other things that make for musical success. There is an abundance of all that and more to be found in this new trio.

-- AllAboutJazz.com (Phillip Woolever)

The celebrated New Orleans Jazz Orchestra examines and the profound relationship of its hometown to the nation of France with its release of Petite Fleur on Storyville Records. The second album under the artistic directorship of drummer Adonis Rose features ten songs, nine of them standards associated with French and New Orleans musicians. The tenth tune is an original by Cyrille Aimée, the acclaimed jazz vocalist born and raised in France but now living and working in The Big Easy itself.

Aimée is the NOJO’s collaborator and vocalist on the album. It was the singer who initiated the collaboration, telling Rose that she would like to work with the 18-piece big band and asking if he had any ideas for a project. “I said, ‘Well, okay, musically, how can I tell a story here?’” Rose recalls. “I thought about the long, shared history of those two places, and that became the concept. A narrative about the musical relationship between New Orleans and France.” The title tune, a standard by early jazz clarinet legend Sidney Bechet, epitomizes the concept: A composition by a New Orleans artist living in France, performed by a New Orleans band with a French vocalist. Composers from both sides of the Atlantic, from Michel Legrand to Jelly Roll Morton, get similar treatment. So do various New Orleanian styles, from a stomp (“Get the Bucket”) to a second line (“Down”) to Fats Domino-style rock ’n’ roll (“I Don’t Hurt Anymore”). In addition to being its spotlight vocalist, Aimée is also Petite Fleur’s featured soloist, applying her razor-sharp scat singing to “In the Land of Beginning Again,” “On a Clear Day,” and “Undecided.”

REVIEW:

Petite Fleur is essentially a meditation on the ties that bind Crescent City art to French culture. Teaming up for 10 songs that cross styles and oceans while exploring that particular connection, the New Orleans Jazz Orchestra and French vocalist Cyrille Aimée make a perfect match, united in the act of storytelling.

The album speaks to Artistic Director and drummer Adonis Rose’s sure-handed helming of the NOJO, the entire band roster’s contributions in part(s) and sum, Aimée’s well-documented gifts, and a shared vision that brings them all together.

-- JazzTimes (Dan Bilawsky)

One of the musical and audiophile highlights of jazz recording history is available in unsurpassed SACD sound. A celebration of the 30th anniversary of the recordings, the analogue masters have been transferred using improved technology to SACD. For the first time, the complete recordings are collected with full documentation and photos. Some of the tracks, previously only available in limited editions, are all present in this collection. The set also includes a previously unreleased DVD, in which Lars Erstrand (vibes) and Georg Riedel (bass) recall these wonderful concerts.

With the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam. The concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians.

Never before entirely released concert recorded on 9 November 1969 at the Berlin Philharmonie. These emotionally intense concerts are all the more remarkable because of the artists high wire act, a balance constantly maintained throughout between her professional savoir faire (a vocal technique at the apex of her art and her interpretive skills) and her emotional abandonment to the moment as she gives her all. The entire performance, with Vaughan pouring out her heart, seems in hindsight at once perfectly timeless in terms of its formal classicism yet thoroughly in the fleeting moment. At the end of the day, these recordings are invaluable. As Vaughan explores the most lyrical, emotional aspects of her art, she overwhelms her listeners as she bares her soul. Her virtuosity in using her imagination to deploy all her technical skills and the extraordinary range of her tessitura are restrained rather than ostentatious. She literally reaches the stars and gives us a unique lesson in music as a form of the art of living.

CONTENTS:

• Charles Strouse, Lee Adams: A Lot of Livin' to Do
• Lennon & McCartney: And I Love Him
• Bacharach: Alfie
• Burton Lane, Alan Jay Lerner: On a Clear Day
• Mel Mitchell, Stanley Applebaum, Rita Mann: Passing Strangers
• Erroll Garner, Johnny Burke: Misty
• Gus Arnheim, Abe Lyman, Arthur Freed: I Cried for You
• Rodgers, R: Babes in Arms: My Funny Valentine
• Gerald Marks, Seymour Simons: All of Me
• Walter Gross, Jack Lawrence: Tenderly
• Howard, B: Fly Me to the Moon
• Sammy Cahn, Jule Styne: Time After Time
• Martin, Hugh: The Trolley Song (from Meet Me in St Louis)
• Webb, Jimmy: By The Time I Get To Phoenix
• Rodgers, R: No Strings: The Sweetest Sounds
• Jimmy van Heusen, / Johnny Burke: Polka Dots and Moonbeams
• Rube Bloom, Johnny Mercer: Day in, Day Out
• Gilbert Bécaud, Pierre Delanoë, Carl Sigman: What Now, My Love
• Jack Lawrence, Stan Freeman: I Had a Ball
• Webb, Jimmy: Didn't We?

Monk, also known as “Toot”, leads his sextet with an innovative and dynamic approach. Since 1992, the drummer has worked exclusively with his co-players, making the sound of the sextet incredibly tight. When they roll out their arsenal, they soar and swing, and are indeed exciting to hear. In that regard, it might be quite surprising to learn that this is Monk’s very first live album! “This is my first live recording, ever! It’s daunting and an uncertain kind of product. Most live albums aren’t that good. I’ve been lucky to always have great people working with me.”

The seven songs on the album are taken from two performances at two similar jazz rooms over a two-year period; three are from “Harlem’s Jazz Shrines Festival: Jazzmobile presents Minton’s Playhouse” at Ginny’s Supper Club on May 7, 2014, while others were recorded at Marians Jazzroom in Bern, Switzerland on April 24, 2016. Drummer, percussionist, composer, producer and bandleader, T. S. Monk has taken his place in the pantheon of jazz royalty, to which he was born. The swing is DNA inherited and absorbed in this master drummer’s persona. Monk spent the late 70’s and 80’s in various R&B groups, scoring his biggest hit Bon Bon Vie (Gimme the Good Life) in 1982, but by the 1990’s he decided to return to his jazz roots.

REVIEW:

Two Continents One Groove has superb sound reproduction for a live disc. But that would be for nought without great performances, and this band delivers. With its well chosen covers and strong member compositions, it’s a perfect blend of foundational and forward looking. Best of all, it’s great fun, with all kinds of swing and funk. Highly recommended.

-- A Green Man Review (Gary Whitehouse)

Avishai Cohen, one of the most innovative bassists and composers today, will release Gently Disturbed, his first release with his newly configured trio, from May on his own Razdaz Recordz label. While to outward appearances the trio would seem to be the standard piano-bass-drum formula, the music they've created on Gently Disturbed is far from the standard jazz trio repertoire. Featuring nine original compositions (written either by Cohen or by the trio collaboratively), including one traditional Israeli song, Gently Disturbed is an amalgamation of melody and groove, complexity and simplicity that nearly redefines the concept of jazz. With the departure of long-time pianist Sam Barsh, Cohen has slightly reconfigured his trio with the addition of Israeli pianist Shai Maestro. Since Cohen is an accomplished pianist in his own right and has performed on bass with such acclaimed jazz pianists as Danilo Perez, Brad Mehldau and of course Chick Corea, and because the previous keyboard players in his bands (Sam Barsh and Jason Lindner) have been exceptional, it is even more striking to note that Maestro is just 21 years old. Rounding out the trio is the brilliant Mark Guiliana on drums, who has been playing and touring with Cohen since 2003 and who Modern Drummer Readers Poll 2007 cited as "one of the best up-and-coming stars of today's drumming scene." Cohen's releases on Razdaz, which he founded with manager Ray Jefford in 2003, have consistently earned critical approbation, beginning with 2003's Lyla, followed by at Home in 2005, and through to 2006's critically acclaimed Continuo then followed by last year's Double Live CD/DVD release, As Is... Live at the Blue Note (Razdaz / Half Note).

Steve Swallow who is one of the pioneers of electric double bass in jazz noted that Millhouse "is using it to help define and refine what the electric bass can do to refresh jazz music." Eminent practitioner of this unique six-string instrument Millhouse as bassist and guitarist in one creates again on this second album with the saxophone trio format refreshing and formidable jazz. "With the rich saxophone and drum sounds the 6 strings incorporates chord playing techniques and moves around freely showing the way electric bass should be in modern jazz.' (K. Harada- Bass Magazine on SCCD 31942 Unwinding)

Dmitri Shostakovich was a versatile composer: popular and serious styles came to him with equal ease and are frequently found together in the same work. In his twenties, before the heavy hand of Soviet officialdom slapped him down in 1936, music of every kind poured out of him: symphonies, operas and full-length ballets but also a great amount of music for film and theatre. Here Andrew Litton leads the Singapore Symphony Orchestra in a program which explores this lighter side of a composer who is otherwise often regarded as unrelentingly serious.

The album opens with Suite for Jazz Orchestra No. 1, which Litton conducts from the piano. Consisting of three brief movements, it is the only truly original work on the disc, written in 1934 for a competition aimed at making ‘Soviet Jazz’ more respectable. The remaining suites are all reworkings of existing music, such as the ballets The Age of Gold – about the adventures of a Soviet football team visiting the decadent West – and The Limpid Stream, portraying a group of entertainers visiting an idyllic collective farm. The Suite for Variety Orchestra is a compilation that the composer made in the late 1950s from three film scores, a ballet movement and four piano pieces. Closing the album is Shostakovich’s 1927 orchestration of a Broadway classic, Vincent Youmans’ "Tea for Two," which had become a hit under the title "Tahiti Trot."

REVIEW:

Entitled Jazz & Variety, this album encompasses four of Shostakovich’s more popular-style suites, mainly drawn from his ballet and theatre scores. These range from the poker-faced, Kurt Weill-like stylization of 1920s dance music, complete with plunking banjo, in the Suite for Jazz Orchestra No. 1 (1934), via the Prokofiev-like burlesques of The Age of Gold – a 1930 ballet about the vicissitudes of a Soviet football team in the wicked West – to the more straightforwardly traditional ballet numbers of The Limpid Stream(1935/45) set on an idyllic collective farm, and the Suite for Variety Orchestra put together from various pieces from the 1950s.

One item, the Waltz from the Jazz Suite, recurs twice: more fully orchestrated in The Limpid Stream, and in yet a third arrangement with a different, more banal middle section, in the Variety Suite. The collection culminates in Shostakovich’s twinkling orchestration of a version of ‘Tea for Two’, entitled Tahiti Trot (1927). Yet, in the middle of all these frolics, the searing intensity of the extended Adagio from The Age of Gold reminds us of the other, tragic side of Shostakovich.

Andrew Litton and the Singapore Symphony Orchestra lavish more care and subtlety on these pieces than the quality of invention in some of the music maybe deserves, additionally flattered by BIS’s spacious recording – though the Jazz Suite might have more bite in a drier acoustic. Still, this is a superior collection for those who relish this lighter, sometimes naughtier side of Shostakovich.

-- BBC Music Magazine