Le Concert d'Astree, a baroque music instrumental and vocal ensemble led by Emmanuelle Haim, is currently one of the finest exponents of this repertoire in the world. It was founded in 2000 by Emmanuelle Haim, who has surrounded herself with seasoned instrumentalists who share an outlook and artistic vision which is both expressive and authentic. Le Concert d'Astree has been in residence at the Opera de Lille since 2004 and has rapidly made a name for itself in France and internationally. In tandem with performing, the musicians are involved in educational outreach in the Hauts-de-France region via chamber music and cultural facilitation activities. The orchestra has a residency at the College Miriam Makeba high school in Lille and tours the area meeting diverse audiences who share the rich and formative experience of interacting with the artists of Le Concert d'Astree.
On Philippe Jaroussky's new album - dedicated to Schubert - he brings all his elegance, precision and exquisite phrasing to this fabulous repertoire. Accompanist is Jerome Ducros. The album features famous songs such as An Silvia, Du bist die Ruh, Die Forelle, Ave Maria. Opera Today wrote following a Schubert recital from the artists in London's Wigmore Hall: 'Abendstern'... was a masterclass in the art of song which the duo presented with characteristic unassuming eloquence."
Aspiring to Parnassus, the mythological mountain home of the Muses, Jean Rondeau explores the possibilities of the harpsichord in music composed over more than 400 years - much of it for the piano. He pays tribute to the Austrian composer Johann Joseph Fux, who in 1725 published the original Gradus ad Parnassum, an influential treatise on counterpoint, and to Muzio Clementi, whose similarly titled collection of piano studies came a century later. The theme continues with Debussy's Doctor Gradus ad Parnassum, an affectionate parody of Clementi from the Children's Corner suite. The album's scope extends to the renaissance (Palestrina) and to works conceived for the piano by Haydn, Mozart and Beethoven. Rondeau's Gradus ad Parnassum sensitizes us to what repertoire written for the piano can reveal about the harpischord - and to what the harpsichord can reveal about repertoire written for the piano.
Quatuor Ebene welcomes a favourite colleague, viola player Antoine Tamestit, for two of Mozart's six string quintets - No 3 in C major, K 515 and No 4 in G minor, K 516. Their last joint album, 'Round Midnight, won a 2022 Gramophone Award for it's thrilling exploration of diverse strands of 20th century music. .When a fifth member joins the ensemble it is always cause for celebration," explains Pierre Colombet, first violinist of Quatuor Ebene,.especially if it's an additional viola to bring further roundness and warmth to the middle voices: the sound grows in substance and vibrancy - the quartet gains a marvellous complement. And a musician like Antoine always brings new ideas and wisdom to refresh or expand our vision of a work." Colombet describes K 515 as.radiant and energetic, exuding elegance and grace," a work in the life-affirming vein of Die Zauberflote, while K 516 offers.perfection in it's counterpoint and the dialogue between the five instruments... already Romantic in spirit, tragic and sometimes sceptical. We all see it as a peak of achievement in chamber music."
Handel: Messiah (2xCD + Bonus DVD) / "A lifetime of performing Messiah has brought me enough courage to record this singularly famous piece of music. With the finest musicians and soloists on the planet surrounding me, I'm finally ready to lay down my personal interpretation for posterity." The American conductor John Nelson, especially famed for his interpretations of Berlioz, conducted Handel's most celebrated oratorio at Coventry Cathedral in the heart of England in November 2022. "In today's turbulent world, I hope that this concert of Messiah in this symbolic location can be a powerful message of hope." The performance is now released as a three-disc set - comprising the audio version (2 CDs) and the video (1 DVD). Nelson's chosen version of the score reflects Messiah's evolution over the period from 1741 (the original autograph) to the early 1750s, when a 'standard' version of the oratorio took shape. In addition, the CDs offer eight bonus tracks - alternative versions of now-familiar arias. Joining John Nelson are the historically informed orchestra and choir of The English Concert, soprano Lucy Crowe, countertenor Alex Potter, tenor Michael Spyres and bass Matthew Brook. As the Times wrote of the performance: "From shadowy strings in 'For behold, darkness shall cover the earth' to gilded trumpets and exuberant timpani in the final chorus, this was Handel straight from the opera house: dramatic and eloquent."
Michael Spyres is a singer who challenges and reshapes perceptions - as his albums BariTenor and Contra-Tenor have shown. Now, preparing for his debut at the Bayreuth Festival in Summer 2024, he searches In the Shadows to reveal more about Wagner and the origins of his music dramas. "Wagner evokes a varying spectrum of emotions - awe, ecstasy, even trepidation," explains Spyres. "This album endeavours to illuminate the composers who languish in the shadows, who formed the foundation of Wagner's compositions and sculpted the framework of vocal writing for the Wagnerian tenor." In the Shadows culminates with three arias by Wagner - from Lohengrin and the lesser-known Die Feen and Rienzi. Preceding them are early 19 th century arias by composers of the French, German and Italian schools: Mehul, Beethoven, Rossini, Meyerbeer, Weber, Auber, Spontini, Bellini and Marschner. Spyres' distinguished companions in his exploration are the players of Les Talens Lyriques and their conductor Christophe Rousset. Michael Spyres's new album seeks to illuminate the composers who "languish in the shadows": those who formed the foundation for Wagner's compositions and sculpted the vocal writing framework of the Wagnerian tenor. In performing and exploring works by pre-Wagnerian composers such as Auber, Bellini, Berlioz, Mehul, Meyerbeer, Rossini, and Spontini, he shines a light on the influences that shaped Wagner into the legendary composer he became. For Michael Spyres, Mehul and Spontini laid the groundwork for Wagner's orchestral and dramatic palette; Meyerbeer, Halevy, and Rossini shaped his understanding of compositional form, overtures, and the structural nuances of storytelling. On the his most recent album, Contra-Tenor, Gramophone wrote: "... it's an enthralling disc as one might expect, and the best of it is sensational indeed."
.. this young musketeer of the bow has been captivating all of his audiences. He is the rising star of the French cello. -LE FIGARO Recorded with Luzerner Sinfonie Orchester and conducted by Michael Sanderling, Edgar's new album features a key piece in the cello repertoire: Tchaikovsky's Rococo Variations. The short pieces with piano, here played with the brilliant David Kadouch, give opportunities to release multiple tracks on DSP's and multiply chances to get playlisted. Telerama wrote about the artists: "Both known as outstanding soloists, David Kadouch and Edgar Moreau also form a close-knit, well-balanced chamber duo, playing with passion and commitment.". Moreau was awarded at the Victoires de la Musique Classique in 2013 and 2015, and was named an ECHO Rising Star in 2017. He has been a Cello Professor at the Paris Conservatoire National Superieur since fall 2023. He plays on a David Tecchler cello from 1711.
Rameau is one of the universal geniuses in European musical history, on the same level as Bach, Mozart and Haydn", asserts conductor Gyorgy Vashegyi. With this recording of Les Boreades Vashegyi completes an ambitious 10-year Rameau project, run in collaboration with the Centre de musique baroque de Versailles. The cast of Sabine Devieilhe, Reinoud Van Mechelen, Tassis Christoyannis, Thomas Dolie, Gwendoline Blondeel, Benedikt Kristjansson and Philippe Estephe is joined by the Orfeo Orchestra and Purcell Choir - both ensembles founded by Vashegyi. Devieilhe - who made her Erato debut with a Rameau recital - takes the central role of Alphise, Queen of Bactria, who must defy the traditions of her country if she is to marry the man she loves. The theme of freedom, 'la liberte', is important in the opera; conceived in 1763 to mark the end of the Seven Years' War, it had to wait more than 200 years for it's first full staging. When the performers on this recording appeared in a concert version of Les Boreades at the Theatre des Champs-Elysees in Paris, Concert Classique declared that "Rameau's genius shines through at every moment.
The sixteen lullabies - or berceuses - that pianist Bertrand Chamayou has chosen for Good Night! Form a captivatingly varied album. His programme embraces a diversity of eras and musical cultures: Chopin, Liszt, Grieg and, of course, Brahms through Balakirev, Lyapunov, Alkan, Bonis, Busoni, Janacek, Martinu and Villa-Lobos to Helmut Lachenmann and a world premiere, Bryce Dessner's Song for Octave. "The lullaby's place is halfway between dream and reality," says Chamayou, "There is that special moment as you are falling asleep and you experience all kinds of emotions." A satisfying recital that will also enrich digital playlists, Good Night! #has been recorded in Dolby Atmos immersive sound.
The unique radiance of traditional English choral singing that made Agnus Dei such a phenomenon is displayed in this set of international Christmas music by Higginbottom & The Choir of New College, Oxford. Mixing familiar tunes with less frequently heard gems, the carol texts take the listener from Annunciation through Epiphany with music from around the world - including the eloquent Poulenc Christmas Motets and Herbert Howell's haunting carol-anthems.
'Heritage', presented by the Fondation Gautier Capucon, is part of the Foundation's annual recording initiative, which spotlights it's laureates and reinforces it's long-term commitment to developing emerging classical talent. This edition features Mirabelle Kajenjeri (violin) and Elias Moncado (piano), offering them a high-visibility platform as rising artists within a structured mentorship and career development ecosystem. The program combines cornerstone repertoire (sonatas by Maurice Ravel and Johannes Brahms) with shorter works by Claude Debussy and Lili Boulanger.
Rossi, Lotti: Madrigals Alan Curtis, Number of Discs: 1 Alan Curtis's recording of Rossi's Madrigals and Lotti's Madrigals is the newest addition to the Veritas x2 series. Veritas x2 is a series from Virgin Classics devoted to landmark recordings of early Baroque music. Although Rossi was famed as an outstanding violinist and keyboard artist, his reputation also rests on his audacious madrigals, which was inspired by Carlo Gesualdo. Lotti's madrigals are considered a bridge between the established Baroque and emerging Classical styles. Alan Curtis leads the Il Complesso Barocco in this recording.
Mozart: Le Nozze Di Figaro / Barenboim, Tomlinson, Rodgers, Composer: Wolfgang Amadeus Mozart, Performer: John Tomlinson, Phyllis Pancella, Joan Rodgers, Richard Brünner, Conductor: Daniel Barenboim, Orchestra/Ensemble: Berlin Philharmonic Orchestra, Berlin RIAS Chamber Chorus, "Barenboim continues to favors a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas... John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus... but he does at all times create a lively personality, a force to be reckoned with... Sir Geraint Evans is even more individual in his characterization - listen to the recitative before his Act 4 aria - and has the more agile voice, helped by the fact that it tends more towards the baritonal." - Gramophone
Further to his two recitals (Italian Opera Arias and Gounod / Massenet Arias), Rolando Villazon's releases his 3rd recital on Virgin Classics, featuring opera arias in 4 languages: French, Italian, English & Russian. And sees Rolando Villazon's second collaboration with Michael Plasson, after their recording of Berlioz' choral works on EMI. Rolando Villazon in undoubtedly the revelation of the years 2004-2005, and has won wide acknowledgement world-wide, not to mention the 2005 Gramophone Award he has received this September for his Gounod / Massenet recital. Virgin Classic. 2006.
Capriccio - Mendelssohn, Schubert, Debussy, Etc / Renaud Capucon, Jerome Ducros, Composer: Felix Mendelssohn, Franz Schubert (Dresden), Franz Schubert, Sir Edward Elgar, Performer: Jerome Ducros, Renaud Capuçon. The notes to Renaud Capuçon and Jérôme Ducros's recital of miniatures focus on the emergence of this pair of French musicians a decade ago and the affinity they display with this repertoire. And affinity there surely seems to be. The arrangers of these pieces, Wilhelmj, Heifetz, Kreisler, Dushkin, and Píhoda themselves championed works of this kind and surely knew how to put them across. It's gratifying to add Capuçon to the list. On Wings of Song, like Schubert's Ave Maria, may be a Heifetz specialty, but Capuçon and Ducros strongly personalize them, with the violinist even providing his own arrangement of the latter. So, like La capricieuse, they display a range of persuasive dynamics and a willingness to employ a subtle palette of expressive portamentos and nuanced changes in tempo harking back to another era to make their various rhetorical points. Dynamic range seems to be one of the keys to their success: the middle section of Humoreske and the lurches of Prokofiev's "Masks" rise to an intensity to which few listeners may be accustomed, especially in an era of somewhat dutiful performances of such pieces. If a majority of them suggest triste rather than capriccio, and evoke polite rather than rowdy gatherings, the exceptions, like Dinicu's Hora staccato, provide thumping good entertainment of a more visceral kind. In fact, while Heifetz's performance may dazzle listeners with down-bow flying staccato of a brilliance never before (and never since) encountered, Capuçon's communicates hotter gypsy passion, while remaining exciting on a purely instrumental level. Still, the pervasive melancholy (for example, Capuçon has included Kreisler's Liebesleid rather than his Liebesfreud or even Caprice viennois)-exhibiting a narrower range than do similar collections by others, like Francescatti, Milstein, Heifetz, or Oistrakh, to name a few who compiled effective collections-may nudge it, despite the devotion of both performers to the kind of pieces they've chosen (including a few less familiar ones, like Strauss's "Einsamer Quelle" and the two Schumann songs), into a category that overlaps what some call "crossover." And insofar as that nudge increases it's appeal for some audiences, it's sure to decrease it for others. Still, for those who like this kind of thing, this is the kind of thing they'll like. Strongly recommended to them, but nearly as strongly recommended to others as well.
Bel Canto Arias - Donizetti, Rossini / Vivica Genaux, John Nelson, Composer: Gaetano Donizetti, Gioachino Rossini, Performer: Vivica Genaux, Conductor: John Nelson, Orchestra/Ensemble: Paris Orchestral Ensemble. Vivica has all the right stuff to sing this wonderful embellished type of music. She is in the big leagues. She has a big voice filled with agility and vocal pyro-techniques.
To celebrate the centenary of the composer's death, this compilation offers a journey through Erik Satie's unusual and distinctive piano works, by three of his greatest performers: Anne Queffelec, Bertrand Chamayou and Aldo Ciccolini. Bonus: his third Gnossienne orchestrated by Francis Poulenc, under the baton of Michel Plasson.
Initiated by the visionary musicologist and organist Olivier Alain - brother of Marie-Claire Alain - this monumental "Encyclopedie de l'orgue" series presents an unparalleled panorama of organ repertoire. It offers a detailed exploration across diverse regions, historical periods (from the 16th century to the contemporary) and stylistic approaches. Recorded between 1958 and 1975, this comprehensive collection features several first-time releases on CD, providing a vibrant testament to the art and spirit of the organ. Major composers are represented by their complete works, while lesser-known figures are highlighted through a carefully curated selection of significant pieces. Each recording was meticulously made on an instrument truly representative of it's repertoire - one whose construction and tonal character authentically correspond to the original aesthetic of the work. The interpretations consistently pursue musical, historical, and stylistic authenticity, entrusted to some of the most distinguished organists of their era.
Schubert: Piano Trios marks the first official album of Trio Moreau, uniting Edgar, David, and Jeremie Moreau in their personal statement of identity as an ensemble. The program combines Schubert's Piano Trios No. 1 & 2 with Lieder arrangements for piano, cello and violin. The two Schubert Piano Trios stand as cornerstones of the chamber music repertoire, as they reveal an extraordinary sense of space, emotional depth and melodic richness from a composer celebrated above all as a master of song. To frame these trios, the Moreau brothers have created their own arrangements of some of Schubert's most beloved Lieder (Du bist die Ruh, and the celebrated Hirt auf dem Felsen). In these versions, violin, cello and piano share the melodic line, each taking turns to "sing" in a dialogue of lyricism and color.
