In his 'new life' as a baritone, Pl�cido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi's darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with "Die Soldaten" and "Il trovatore". Domingo is joined by two of Italy's most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo's performance, calling his interpretation of the role "sublime".

Neither Lucrezia Borgia nor any of the female members of the nobility in that time ever had a musical chapel, unlike their respective husbands. However, part of his domestic budget was destined to string instrument players maintenance, singers and, to a very important person: a dance teacher. If being aware of the latest fashion dances was a socially essential issue, so it was musical evenings organization, with the common instrumental group composed by lutes or violas, an instrument that seems to had it's origins in Valencia in the middle of XV century, and from there traveled to Italy. About Lucrezia musical taste nothing is known, but not so her husband Alfonso d'Este, who (perhaps) in homage to his new wife was at the head of six violas consort in the celebrations of their own wedding, reflected in this Capella de Ministrers recording.

Gerald Reynolds writes: "This edition marks the first publication of the R�ntgen's Sonata in C-sharp Minor (1928). I was first introduced to the work while visiting the composer's grandson Jurriaan R�ntgen in Amsterdam during the summer of 2015, at which time Mr. R�ntgen generously gave me a recording of the work. I was immediately taken with the piece and resolved to find the score, record and edit it with the hope of bringing it to the wider attention of pianists and piano aficionados with a new publication of it, through my relationship with Nimbus Publishing, UK. Previously, the Sonata in C-sharp minor (1928) existed in manuscript form in three versions designated as A, B (catalogue # 107/062B also with the date 14 Dec '28 in pencil on the title page) and C (catalogue # 107/062C - no date). All originals are located in the R�ntgen archives at the Nederlands Muziek Instituut, Den Haag, The Netherlands."

CONCERTATE IL SUONO

The Silk Road is one of the most remarkable achievements in the history of civilizations. Along this great Silk Road travelled not only the executors of trade, but also the cultures of nations, spiritual values and religious ideas. Silk has been one of the items around which has turned the relationship between nations of the East and West, and through silk a technological, economic, artistic and cultural communication has been produced between geographically- different areas, which have turned it into a route of transmission of knowledge, a route of interchange of cultures and customs. We too have been formed by it, making us more aware of our multicultural past, of which Islam formed part with key contributions, amongst which is worth underlining the introduction of the silk industry into the European continent. This is a musical journey through the territories of the Silk Road, across borders. It is a unique experience to share this common heritage, by recovering the past in order for it to be borne to the present, using music as a universal language.

This musical presentation by Capella de Ministrers leaps out from its origins in mediaeval myths and literature to give listeners a direct connection with the true meaning of the Grail. It is a journey encompassing the various musical traditions along the path taken by the Grail through the centuries, from the Holy Land to Brittany, from the Pyrenees to San Juan de la Peña until its ultimate arrival at Valencia Cathedral. The Grail is both legendary and mystical, a holy relic that appeared in stories during the middle part of the mediaeval period. It is a precious and mysterious object in the shape of a plate full of Christian symbolism, like the bloody lance which is reminiscent of the lance thrust into the body of Christ on the cross – the mystery of redemption and eternal life. From Crusade songs, chants sung in pilgrimage centers, mediaeval literature reflected in music, to the emblematic symbolism the Grail acquired with Alfonso the Magnanimous. Towards the end of the Middle Ages when the Turks were circling Constantinople, it seems that the ideal of the Crusades disappears like a dream and only a vague memory of the Grail endures, while Alfonso the Magnanimous proudly displays the Perilous Chair as a heraldic device which glorifies his deeds. Virtud apurar no’m fretura sola (My virtue will not falter until I reach my goal). Capella de Ministrers has gathered together music and poetry from the Middle Ages by authors and composers such as Chre´tien de Troyes, Robert de Boron, Wolfram von Eschembach and He´linand de Froidmont. The music and poetry is all linked to the subject of the Grail and encourages us to discover its meaning through our own personal quest, based on our knowledge of the past and through the recreation of the music.

According to Berlioz, Spontini was – after Gluck – the greatest genius of French music to pave the way for the Romantic era. And it may well be that the little-known Olympie, premiered in 1819 and subsequently revived in 1826 under the modified title Olimpie, had a greater influence than we have hitherto imagined on the massive upheaval that was to set French opera on the path of the modern ‘grand opéra’. From start to finish, this finely polished score, with its astonishing orchestration, is full of spectacular effects that clearly look forward to Les Troyens of Berlioz. The omnipresence of a huge chorus, the valiant vocal writing for Antigonus, the pathos of the role of Statira (conceived for Caroline Branchu, then at the peak of her career): all the ingredients were there to make a powerful impact on listeners such as Berlioz, who was moved to tears. Here, undoubtedly, is one of the first epic canvases of the nineteenth century.

Offenbach’s La Périchole (1868) will never cease to delight music lovers of all persuasions. Marc Minkowski – long one of the composer’s prophets – was keen to pay tribute to him with this world premiere recording on period instruments, in the company of the young school of French singers, including the bewitching Aude Extrémo, the dashing Stanislas de Barbeyrac and the hilarious Alexandre Duhamel. Combining fashionable rhythms with the most unexpected touches of folklore, the score is a veritable flood of hit numbers. How can one not be swept away by the insolence of the Seguidilla, the frenzy of the Bolero or the furious rhythm of the Prison Trio? Never before, perhaps, had Offenbach gone so far in caricaturing political leaders – nor used drunkenness to resolve the imbroglio of inextricable sentimental relationships. And indeed, the ‘Tipsy Arietta’ is one of the composer's best-known numbers. Cheers!

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REVIEW:

Bru Zane continues its French Opera series with Offenbach’s La Périchole, an opéra bouffe in three acts.

Offenbach enjoyed great success in 1867; he had productions showing at four Parisian theatres the year before completing La Périchole. Yet in May 1868 the tide was turning. Le château à Toto was unsuccessful, and a revival of Le pont des soupirs failed to inspire. Later in the year came the premières of opéra bouffes L'île de Tulipatan and La Périchole, neither of which kept a hold on the repertory. In 1874, for the revival of La Périchole, Offenbach revised the score considerably: three acts instead the original two acts. It was in this revised form that La Périchole has found favour with audiences.

In La Périchole there are the usual antics so typical of an opéra bouffe, including disguise, mix-ups, mistaken identity and comic twists. La Périchole and her lover Piquillo are a pair of Peruvian street singers who cannot afford a marriage license. Don Andrès de Ribeira, a lecherous Viceroy of Peru, wants La Périchole as his mistress, and makes her his lady-in-waiting. Piquillo, also employed in the Viceroy’s household, marries the veiled La Périchole without knowing it is she. Piquillo gets thrown into prison but the end results in an unexpected pardon from the Viceroy; the lovers are reunited.

Music director Marc Minkowski has conducted both versions of La Périchole. For the Opéra National de Bordeaux production recorded here, he has assembled a mixed version based on the original 1868 score and parts of the 1874 revision. This release was recorded at live performances of stage director Romain Gilbert’s production. Minkowski conducted Les Musiciens du Louvre who are thirty-six strong and use period instruments. Although it surely applies to all audio recordings of live performances to a lesser or greater degree, having seen a brief clip of the show I think the dramatic impact of La Périchole is especially diminished by not seeing the actual performance. Nevertheless, there is still much pleasure to be gained from this recording. The three principal characters – La Périchole, Piquillo and Don Andrès – are very well cast, with French-language singers.

Tenor Stanislas de Barbeyrac throws himself wholeheartedly into the role of Piquillo. A highlight is the brief Rondo de bravoure - Écoute, ô roi, je te présente, where Piquillo presents La Périchole to Don Andrès. This splendid example of Barbeyrac’s theatricalit, demonstrates his vocal clarity and projection, his high notes achieved comfortably. As femme fatale La Périchole, the rich-toned mezzo-soprano of Aude Extrémo projects well, with a first-class level of expression – although her voice does not always have the smoothest delivery. La Périchole’s renowned ‘Tipsy’ arietta - Ah! quel dîner je viens de faire!’ is a success. I wish I could have seen it. Best of all is her ‘Letter’ arioso to Piquillo - Ô mon cher amant, je te jur. The mezzo tenderly reflects how it would be better to separate owing to their poverty and list of misfortunes. It is hard to forget the distinction of Régine Crespin’s rendition of the ‘Letter’ arioso on her 1971 release ‘Prima Donna in Paris’ on Decca.

Alexandre Duhamel as Viceroy Don Andrès gives a creditable performance although it is more of an acting role. Note the ‘Incognito’ song with chorus Sans en rien souffler à personne where Viceroy goes out on the town in disguise. Duhamel is in secure voice, with impressive diction and strong expression. Of the hit numbers, one notes La Périchole and Piquillo’s Le conquérant dit à la jeune Indienne, a foot-tapping ballad with its extremely catchy tune. For the same reasons, I also relish the couple’s rendition of the celebrated Séguedille - Vous a-t-on dit souvent. Minkowski favours swift speeds. He draws a strong and expressive performance from Les Musiciens du Louvre. On occasions, within all the spirited playing there is some slight untidness but nothing too distracting. The Chœur de L’Opéra National de Bordeaux is hard to fault. They give a strong performance throughout under chorus master Alphonse Cemin.

The sound has clarity, and is well balanced. Not surprisingly, there is some miscellaneous stage noise, and applause after some arias and at the end of each act, but it is not a problem. It serves to add to the live atmosphere.

As we have come to expect from this Bru Zane French Opera series, there is a 168-page hardback book with a full French libretto and an English translation. Four informative and well written essays are also included, as is a synopsis and full cast and track listing. My only grumble is wanting the track listing to contain the page number of its place in the libretto.

There are several studio recordings of La Périchole in the catalogue. My first choice remains the 1977 Strasbourg recording on Erato, featuring Régine Crespin, Alain Vanzo and Jules Bastin, conducted by Alain Lombard. Originally, I had the Erato release on vinyl. It is worth knowing that the performance has no spoken dialogue. I find this Minkowski recording of La Périchole tremendously entertaining from start to finish, and I wish I had been in the Bordeaux audience. A fitting tribute in Offenbach’s 200th anniversary year.

– MusicWeb International (Michael Cookson)

PENTAPHONE

Aur�ole is widely considered to be one of the world's most revered flute, viola, and harp trios. The trio has commissioned and premiered more works and released more albums for their instrumentation than any other similar trio in the world. Embracing The Wind is Aur�ole's fifteenth album, and their debut recording on the AMR label. The first work on the album, by Israeli composer Paul Ben-Haim, fittingly titled 'Chamber Music,' is regarded as one of his most intimate in instrumentation and content. It explores a colorful dialogue between the three instruments that moves from playful to meditative and prayerlike. The title work on the album, 'Embracing The Wind,' is by award-winning American composer Robert Paterson and is one of his most-performed works. According to Paterson, his "muse" ensemble when composing this work was Aur�ole, so he is thrilled to be included on this album. The third piece on the album is the three-movement work 'Veiled Echoes' by Lior Navok. In the composer's words, 'Veiled Echoes' "was written during a one month stay at Aspen, Colorado. While being surrounded by wild nature at it's best, writing a trio for flute, viola and harp seemed to me as the most natural thing..." The final work on the album, 'Thamar y Amnon' by Ian Krouse, is a chamber tone poem based on one of Federico Garc�a Lorca's Tres Romances Historicos (Three Historical Ballads) from Romancero Gitano (Gypsy Ballads). This work is embedded with deep, extra-musical meaning and has deep ties to Lorca's paean to illicit eroticism.

Krenek, E.: What Price Confidence? / Songs, Opp. 56, 112, 21

Since its outset at the turn of the 19th century, the six-string guitar has been an inseparable part of Spain’s musical life. Although Italy and France were also prolific centers of performers, composers and builders during the early decades of the century, Spain later became the instrument's iconic country. Guitarists started accompanying flamenco singers, making the guitar an intrinsic part of the art form and positioning it as Spain’s national instrument. Many concert guitarists --most notably Julián Arcas-- included it in their performances and compositions. Both flamenco and classical guitars increased their volume, quality of sound, and overall possibilities with the designs by luthier Antonio de Torres, whose construction standards have remained unchanged to this day. A long list of referents would ensue in later generations, including Francisco Tárrega, Miguel Llobet, Emilio Pujol and Andrés Segovia. Moreover, both Spanish and foreign composers evoked the sound of the guitar and the forms associated with it as an immediate reference to the Mediterranean country.

Ligeti: Complete Études

Jia Daqun is one of his country’s most internationally admired composers, whose Flavor of Bashu was named Chinese Classic Musical Composition of the 20th century by the Chinese government. The evocative percussion works here exemplify his ability to combine a variety of musical cultures and instruments in a single work. In Pole this is achieved through the fusing of Chinese traditional percussive instruments and those from the West, whilst in The Song without Words a panoply of vivid instrumentation celebrates the quarter-century of diplomatic relations between China and Japan. Jia draws on elegant folk customs and uses evocative native instruments such as gongs, ban-drum and muyus (Chinese temple block) in the exotic Sound Games.

Classical Music

This is DOREMI's 11th volume featuring rare recordings by David Oistrakh (1908-1974), the most loved and admired violinist of all time. Here he is with the great pianist Lev Oborin (1907-1974). Oborin was the 1st prize winner of the first Chopin competition in Warsaw (1927). Aram Khachaturian dedicated to him his famous piano concerto of 1936. Oborin began his close artistic collaboration with Oistrakh in 1935. Their long association in concerts and recordings, as duo partners and in the David Oistrakh Trio, lasted throughout their lives. The complete set of Beethoven violin sonatas presented here is a set of LIVE PERFORMANCES given by David Oistrakh and Lev Oborin in Paris in 1962. It is not the studio recording of the Beethoven sonatas they made in the same year and which was released by Philips and other labels. This live set is marked by its superior, highly intense music making and a magic appeal that makes it clearly preferable to the one made in the studio.

New: supplemented and completed! "The recordings are of the highest quality throughout! The different interpretations are also convincing, original sound ensembles underline the mastery of Bach's son! A must for every music lover!" "The CPE Bach Edition brings together beautiful music played by outstanding musicians. Ideal for anyone who wants to get to know the work of this composer at an affordable price."

16.9915

Mezzo-soprano Ester Pavlu has chosen four of the two dozen individual songs and song cycles that the world-famous Czech composer Antonin Dvorak (1841-1904) wrote during his lifetime. Ester Pavlu's magnificent voice as well as her and her convincing stage presence make her one of the most promising mezzo-sopranos of the current generation, who wins the admiration of audience and critics both on domestic stages and abroad. Charles Spencer is one of the most sought-after piano accompanists worldwide who regularly collaborates with many of the world's most renowned singers.

The Augsburg Cathedral Boys' Choir is celebrating Giovanni Pierluigi da Palestrina as one of the greatest composers in music history with a recording to mark the 500th anniversary of his birth in 2025. The focus is on the eight-part Missa Fratres ego enim accepi, which Palestrina composed as a parody mass of the motet of the same name, which he also penned. What is special about the recording is the use and interplay with instruments, as is documented for polyphonic repertoire in Augsburg in the 16th century, as well as historical pitches.

The largest collection of piano nocturnes on CD, celebrating the art of the romantic piano song without words. Over a century of repertoire in all modern recordings, plus a new booklet essay exploring the history and context of the nocturne. Composers of the 18th century such as Haydn and Mozart wrote notturnos as serenades to be sung and played at night time, both on an operatic stage and as independent pieces for entertainment. The early 19th century saw a rapid evolution in the technological, the cultural and the musical development of the piano - as an instrument of longer sustaining power and greater volume than before, offering a broader palette of tone-colours, presenting composers with the potential to write quasi-orchestrally for a single instrument, as Baroque composers had done for the organ. At the same time, musical forms were becoming looser, more shaped by extra-musical inspirations in literature, poetry and the natural world. The Irish composer John Field was the first to publish nocturnes for the solo piano as standalone works, rather than as poetic interludes within larger pieces such as suites or sonatas. Having inherited the form from Field, Frederic Chopin then raised the nocturne to new heights of inward expression. As much as the salon became a place for pianistic display of technique, it also became a space for quiet soliloquy through the course of the 19th century, accessible to the rapidly expanding bourgeoisie with access to an instrument at home and to the education required to play it. Thus publishers commissioned nocturnes from both greater and lesser composers to satisfy an ever-growing market. The nocturnes in this box cover all the great names of Romantic-era piano writing, and many lesser-known ones too. Many of the performances are played on instruments of the period, enabling listeners to immerse themselves into a 19th-century world of softer and more gentle colours and expression. This new box also features an essay by Peter Quantrill outlining the history of the nocturne and it's lasting hold upon our affections and imaginations.

With this vinyl edition, the Xenakis Trio refocuses on two major pillars of it's repertoire: Iannis Xenakis and Steve Reich. Two distinct visions of contemporary percussion, brought together in a dialogue of materials, rhythms and resonances. Taken from their first album Alliages, these works take on a new dimension here: the warmth of vinyl restores all the density of the instrumental gesture, the grain of the timbre, the raw pulsation of the percussive sound. This edition is a field of resonance - a space where the tectonic forces of twentieth-century music combine with the artistic demands of a trio in search of the limits of sound.

This CD represents pianist Violina Petrychenko's longstanding efforts to promote Ukrainian music in Europe. The program introduces two composers who represent both poles of Ukrainian musical life - Borys Liatoshynsky from central Ukraine and Vasyl Barvinsky from the west of the country. The recording presents two of the most ambitious Ukrainian piano quintets, which open up different perspectives on one of the most important genres of chamber music, each influenced by unique historical and artistic circumstances.

With "Kiss of Fire," Spark present their newest project and once again make a powerful statement of musical boundary-breaking. The ensemble is known for it's distinctive and varied programs that move beyond traditional genre limits and continuously redefine classical music. For Kiss of Fire, Spark has collaborated with the W�rttembergisches Kammerorchester Heilbronn. This encounter gives the characteristic sound a new tonal dimension and expands the ensemble's spectrum with an additional orchestral color. A special highlight of the album is the world premiere recording of the commissioned work by Dutch composer Chiel Meijering.

French Cello Sonatas, Vol. 4 - Magnard & Vierne