Also available on Blu-ray

These two symphonies brought vividly to life through the inspired partnership of Alexander Anissimov and the Moscow Symphoney Orchestra. Track highlights include: Symphonies Nos. 1 "Slavyanskaya" and 4.

RUBINSTEIN: Piano Works

Also available on Blu-ray

Also Available, a two disc set: Love’s Labour’s Lost & Love's Labour’s Won, on DVD and Blu-ray.

In his atmospheric rendition of Rachmaninov's The Rock, conductor Alexander Anissimov delights in the Rimsky-Korsakov-style fantasy of the music while emphasizing its drama, making this one of the best recordings since Walter Weller's fluid and expressive reading on Decca (which, along with his Rachmaninov symphonies has yet to see laser light). Though it might not seem so at first, The Rock actually makes a nice lead-in to The Bells, with its somber sounds gently usurped by the joyful ringing of the celesta and flutes. Joyful also describes Anissimov's performance of The Bells' first movement. After tenor Ivan Choupenitch's record long-held note on "Slyshish", the chorus enters exuberantly though not with the voluminous massed sonority of the Russian Republican Capelle for Kondrashin.


The RTÉ Philharmonic Choir, an Irish-based ensemble, makes a pretty impressive show of itself throughout this performance, not least for its convincingly Slavic sound. Ireland's National Symphony also transcends geography, paradoxically sounding more Russian than Pletnev's Russian National band does on his recent Deutsche Grammophon recording. For this Anissimov certainly deserves the credit: listen to how his trumpets peal against the strings in the second movement's great ascending orchestral interlude, or how in the finale the winds and brass snarl like ghostly specters from the yet-to-be-composed Symphonic Dances. Helen Field's singing in the wedding song is at once soothing and seductive, while Oleg Melnikov intones the bells of death with the requisite gravity and sense of finality. Despite the enormous dynamic range inherent in this work, Naxos' recording captures it all vividly, managing to convey both size and detail. Budget or no, these are Bells you ought to hear.
--Victor Carr Jr., ClassicsToday.com

A full-throated and robust celebration of Christmas from the 160-voice Pacific Chorale! “Christmas Time is Here” is a marvelous compilation of colorful arrangements for choir with instrumental accompaniment from brass, harp and percussion. You will find many traditional carols in inventive, original, arrangements culminating in a joyful listening experience!

Pacific Chorale has delighted national and international audiences with concerts of great choral music performed at the highest musical standards since 1968. Under the artistic leadership of John Alexender, Pacific Chorale produces a series of concerts each year at the Orange County Performing Arts Center, where it serves as the resident choir.

Pacific Chorale has received numerous awards, including Chorus America’s prestigious “Margaret Hills Achievement Award for Choral Excellence” and the first national “Education Outreach Award”. Arts Orange County honored the Choral with the 2002 “Outstanding Arts Organization (Music)” Award, and the Orange County Department of Education presented the Chorale with its 2002 “Outstanding Contributions to Education” Award. In 2005, Pacific Chorale received the American Society of Composers, Authors and Publishers (ASCAP) Alice Parker Award for adventurous programming.

The extreme social trauma that followed The Great War of 1914-18 engulfed Europe. In this context, English composer Frank Bridge is an intriguing figure. While his musical language transformed to embrace a radically new harmonic style, his popularity waned, and it was not until the end of the century that his importance as a leading modernist was appreciated. The program of this album seeks to illuminate the position of Bridge's monumental Piano Sonata, by setting it alongside works by the composers who influenced it - Berg and Ravel - and his most famous pupil, Britten. Alexande Soares's new album is another thought provoking recital, placing Frank Bridge in the mainstream of 20th century music where he rightly belongs.

SULLIVAN The Mikado • Brian Castles-Onion, cond; Richard Alexander ( Mikado ); Kaneen Breen ( Nanki-Poo ); Mitchell Butel ( Ko-Ko ); Warwick Fyfe ( Pooh-Bah ); Taryn Fiebig ( Yum-Yum ); Jacqueline Dark ( Katisha ); Op Australia Ch; Victoria O • OPERA AUSTRALIA Z56016CD (2 CDs: 88:00)


Every time I listen to Gilbert and Sullivan I find myself “whistling all the airs to that infernal nonsense,” in this case, Mikado . Well, not whistling actually; I don’t whistle well, but those airs do run around in my head for days and days. The Mikado is one of G&S’s cleverest and most tuneful works for the stage and that makes it one of the best operettas in the English language. Like Offenbach’s French satires, Gilbert’s librettos don’t translate quite as brilliantly to other languages, for the reason that he not only pokes fun at British customs and institutions, he satirizes the English language itself. Sullivan’s infernally catchy tunes, however, translate just fine. You can hum them in French or German or Swahili, and many do. Long the patent-holder of all Gilbert and Sullivan material, the D’Oyly Carte Opera Company did posterity no favors by declining to video-record its classic productions, in the fear that the videos would help put them out of business. Well, D’Oyly Carte went out of business anyway, after some hundred years of nurturing and protecting the G&S legacy, but for those of us who never attended a live performance, opportunities to see traditional, well-sung airings of the G&S canon with just the right British comedic insouciance are few and far between.


Happily, we have one such here. Opera Australia imported this 1985 production from Sadler’s Wells and video-recorded it once before, in 1987 (see Barry Brenesal’s review in Fanfare 35:4). Now the Aussies have dusted it off and trotted it out again with a new cast and generally excellent results. G&S depends on comedic timing and delivery (as well as many other things) to make an effect, and here two of the principals, the Ko-Ko of Mitchell Butel and the Nanki-Poo of Kanen Breen, are both very good and very funny (they both sing pretty well, too). Breen reminds me a bit of Bill Murray’s wisecracking, streetwise army buddy in Stripes , a little more hip than your usual Nanki-Poo, but very entertaining. The third male principal, Warwick Fyfe as Pooh-Bah, is not to the comedic manor born, but he turns in a solid performance, and Gilbert’s clever witticisms do most of the work for him. The three little maids in this production have none of them been schoolgirls for quite some time, but the Yum-Yum of Taryn Fiebig is sung solidly and she more than holds up her end in the comedic dialog. There are several other roles of relative importance in The Mikado and they are all performed very competently here. The Katisha, Jacqueline Dark, actually stars in the extra feature on the disc. We watch while she sits and prattles on while being made up as the rather fearsome daughter-in-law-elect. The sets and costumes just about steal the show; they are traditional, lavish, and colorful. Jugs and ewers of all types and sizes dominate the décor. Pooh-Bah seems to reside, or at least travel in, a large colorful wardrobe. It is all a bit silly, but great fun. Ko-Ko’s “list” song has been modernized to somewhat dubious effect, and one or two other Aussie verbal modifications sneak in without really hurting the show.


Actually, I misled you in the opening paragraph, for The Mikado is the one G&S work for which the D’Oyly Carte Company did make a video, for some unknown reason. Still available on VAI, it displays all of the company’s great artistry and impeccable timing honed over years and years of public performances. Not only do they all know how to deliver a comedic line, they know to anticipate audience reaction and pause perfectly for it. Unfortunately, the production is filmed without an audience present, and the D’Oyly Carte forces seem a little thrown off by it. The 1966 video stars as Ko-Ko a young John Reed, the best G&S comedic performer of his time and possibly of all time. He is a treat to watch and he definitely will be missed. The company was known in The Mikado for its snapping fan work; they actually brought in Japanese women before the premiere to show the company how to use the fans, and show the women how to walk properly. All of that is still on display in 1966. The VAI production is a classic that belongs in any G&S fan’s library. Avoid the 1982 Brent Walker production (and just about all of them for the other works as well). There is a fascinating 1939 film still available on DVD that uses several D’Oyly Carte performers of the era, including Martyn Greene, John Reed’s predecessor and highly regarded himself. This Opera Australia release is a worthy successor to the D’Oyly Carte tradition; it is funny, highly entertaining, and captures the work in much better quality video and sound than previously, especially enjoyable on Blu-ray high definition.


FANFARE: Bill White

Vinyl LP pressing.

Classical Music

Also available on standard DVD

CHILL WITH RACHMANINOV

To mark 100 years since the First World War, the Royal Shakespeare Company chose to set this uncommon but apt pairing of two of The Bard's comedies in the era of the Great War. The first of the two is situated in the relatively carefree period a few months before the outbreak of conflict in 1914; the second just after it's end four years later. Although the jury is still out on whether the play more commonly known as Much Ado About Nothing was alternatively titled Love's Labour's Won in Shakespeare's time, the coupling of plays is unquestionably fitting. The characters may be different, but the earlier comedy leaves a number of threads dangling (or labors seemingly lost) at it's conclusion, and it is much the same tensions - interpersonal, philosophical or political - that are shown to exist between other, analogous characters, and that are finally resolved, in the later play. The exquisite acting, ingeniously composed music and accomplished directing of these complementary productions by the company and staff of the RSC bring Shakespeare's comic masterpieces together to create a result both coherent and un-missable.

In the 17th century the city of Liège, capital of an enormous diocese and of a principality within the Empire, was described as a “priests’ paradise” on account of its imposing cathedral, its seven collegiate churches, about thirty parish churches, and its numerous abbeys and monasteries. This recording does more than justice to two manuscript which provides rare evidence of the polyphonic repertoire in use by the Liège religious orders in the first half of the 17th century: Grand livre de chœur de Saint-Lambert and Livre d’orgue des frères croisiers. The fifty-odd 4- to 8-part motets assembled in the Grand livre de chœur are by the hand of Liège composers from the first half of the 17th century who, with the exception of Gilles Hayne, were all active at the cathedral. These motets illustrate the permanence of the rite in honor of the patron saint of the diocese, Bishop Lambert, and other acts of devotions in favor in Liège at the time. Following the traditional format of the evening office, the vespers presented here alternate psalms and antiphons and end with a Magnificat with a particularly rich tonal texture. Sayve’s Magnificat for double chorus, preserved in the national library at Ljubljana, here receives its first recording. Drawing on extant sources of composers who all maintained a link with Liège, the Polyharmonique and Concerto Imperiale ensembles, under the direction of Alexander Schneider et Fabien Moulaert, here offers a program remarkable for its great stylistic and musical coherence.

A New Yorker Notable Recording of 2022!

On her second solo album Lisette Oropesa has combined two of her greatest loves, the French language and Italian bel canto. This recording with the Dresdner Philharmonie under the baton of Corrado Rovaris showcases the variety of lesser-known and more popular works by Rossini and Donizetti, featuring arias that contain coloratura, lyricism, drama, heightened emotion, and even comedy. Star soprano Lisette Oropesa made her Pentatone debut with Ombra Compagna, Mozart Concert Arias in 2021, and sung the title heroine in a complete recording of Verdi’s La Traviata, also released on the label in 2022. The Dresdner Philharmonie was involved in that same recording, and has also participated in several other recordings released by Pentatone, such as Weber’s Der Freischütz (2019), Mascagni’s Cavalleria Rusticana, Puccini’s Il Tabarro (both 2020) and Beethoven’s Fidelio (2021). Conductor Corrado Rovaris particularly excels in bel canto and verismo repertoire, and makes his Pentatone debut.

REVIEW:

Oropesa's very first notes here, from Le Siège de Corinthe, are warm and pleading, the tone round and full–and utterly beautiful. As the voice rises, it doesn’t lose texture. The coloratura is close to flawless, as is her pitch. The roulades and runs are so fierce in the Rossini selections that, let’s face it, a touch of hesitation is to be expected and it is just that–a touch.

This is very difficult music–just think of how few recital CDs have included these two scenes. The necessary legato, the sadness, the darkening of the tone, and the purposeful use of vibrato are rare indeed; there is a true musician in the house.

Mathilde’s aria from Guillaume Tell is sure-fire. She manages it beautifully, the start of each phrase knowing full well the direction in which it’s going, the breath control natural. “Salut à la France” is divine: carefree, joyous, full of perfect downward scales and staccatos, and capped with a fine E-flat.

More than anything else, you come away from this recital with the realization that Oropesa and, indeed, the Dresden Philharmonic and conductor Corrado Rovaris, have fashioned a warmhearted, stylistically impeccable look at French bel canto, frequently overlooked. There’s nothing hackneyed here, and no ear fatigue listening to a high solo voice for 65 minutes...what a fine disc!

-- ClassicsToday (Robert Levine)

Again, another impressive session from the Russian trumpet player (and New Yorker since 1991) Alex Sipiagin. His highly interesting compositions and arrangements are played by a group of top-notch New York jazz musicians, tenor saxist Chris Potter, rising guitar great Adam Rogers, fellow Russian bassist Boris Kozlov, and the formidable Herbie Hancock associate, Gene Jackson on drums.

Hard driving, big-toned Chicago tenor player, the Saxophone Competition.

This is Eric Alexander's 4th release as a leader, and is his most cohesive to date. His trademark big-sound tenor sax is joined here by 74 year old baitone sax legend Cecil Payne, pianist David Hazeltine, bass player John Webber and Joe Farnsworth on drums.

Hot rising tenor sax player & quartet is presented here in an organ context w. veteran Melvin Rhyne that transcends the traditional organ-tenor session w. a sensitive & swinging modern presentation, joined by Bobby Broom-guitar, Joe Farnsworth-drums.

Tenor saxophonist's second Criss Cross release, swinging tour de force from hard bop to ballads, standards & originals, w. John Swana-trumpet, Peter Bernstein-guitar, Kenny Barron-piano, Peter Washington-bass, Carl Allen-drums.

Alexander Hawkins is a creative epicentre from the London jazz scene and is regarded in the UK as one of the most innovative musicians of the younger generation with a surprising radius of action. He plays with Evan Parker, Wadada Leo Smith, Taylor Ho Bynum, Louis Moholo, Shabaka Hutchings and Elaine Mitchener. 'Iron into Wind' is the name of his new piano solo. The phrase "Iron into Wind" evokes for him both the transience of improvisation and a fascination with solid material, represented by the powerful blocks of sound to be heard in several of these pieces. Richard Willimas writes in the liner notes: "The mood varies from the two-handed avant-gospel figurations of "Congregational" to the hurtling "�tude" via the austere ruminations of "Tumble Mono", the knotted blues of "Strange Courage" and the explosive accelerations of "It Should Be a Song", with a diversion, in "Pleasant Constellation", by way of variations on an element from Sun Ra's "Fate in a Pleasant Mood". What he achieves here is a fine balance of all his interests, creating a self-portrait of a wonderfully inventive modern musician."

SCHLIPPENBACH PLAYS MONK

After the album "Togetherness Music", British pianist and composer Alexander Hawkins presents another musical panorama: An ensemble in which his trio with bassist Neil Charles and drummer Stephen Davis meets saxophonist and clarinetist Shabaka Hutchings, guitarist Otto Fischer, and drummer Richard Ol�t�nd� Baker. For anybody who has followed Hawkins's work since his emergence on the British improvised music scene in the mid 2000's this is a fresh band full of familiar musicians with whom Hawkins has played in a wide variety of formations. The new pieces "Break a Vase" presents emerge from Hawkins' own imagination, but they also capture the thrust of energy in collaborating with these outstanding musicians. "Hawkins gives one of his most complete performances to date," writes Kevin Le Gendre in the liner notes. "Nothing is perhaps more majestic than the title track, which comes from Derek Walcott's acceptance speech for the Nobel Prize. 'Break a Vase, and the love that re - assembles the fragments is stronger than that love which took it's symmetry for granted when it was whole.' Enjoy then all these wily bits and pieces that come together in the kind of daring, courageous construction that is made to last."

The Schlippenbach Trio has worked together as a unit for around forty-five (!) years. Their magic chemistry is founded on intuitive listening and interaction - the ability to respond in an instant - and on the match between their characters, each adding to the whole as well as challenging each other - a stroke of fortune. The spectrum of performances on "Features" covers a range from furor to elegy. It extends from energetic, forward-thrusting pieces via cool, calm, ambling passages and ballad moods to submersion in sound, in silence. (Excerpt from Bert Noglik's liner notes)

Sofia Jernberg and Alexander Hawkins are among the most multifaceted and expressive musical personalities with a surprising radius of action. Swedish singer Sofia Jernberg explores the boundaries of vocal technique in a variety of creative contexts, ranging from Sch�nberg's Pierrot Lunaire to Mats Gustafsson's Fire! Orchestra. Alexander Hawkins is often described as unrivaled in modern creative music and is considered one of it's most innovative and imaginative pianists and composers. In the duo, traditional songs from Ethiopia, Armenia, Sweden and elsewhere become the starting point for the development of an exciting and very personal sound world. David Toop writes in the liner notes: "Where is home, where is return for the scattered? Soft and crystalline, a music of edges, silence and tangential shoots, Musho dwells in these questions, invites the listener to consider displacement, migration, identity, responsibility, bloody history, the seepage of culture and community, but more than that, invites listening." Musho is predictably a fantastic work of contemporary music.