SCHNITTKE: VIOLIN SONATA NO 1,

Some of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Symphonie fantastique is given a terrifyingly formidable performance.

Some of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Not the least of the pleasures is the association of the Symphonic Fantastique with its pendant Lelio: they are not a required coupling, of course, but there is a special pleasure in hearing the unforgettable tones of Jean-Louis Barrault (he who once memorably played Berlioz on film) as he revives after the drug-induced nightmare. Barrault speaks so beautifully that the ramshackle concoction of some very mixed inspirations becomes a rich Berliozian experience. The symphony is given a formidable performance, terrifyingly formidable in the measured tread of the "March to the Scaffold", somewhat too much so where the waltz should charm, even if ironically, and making a morose landscape of the "Scene aux champs". But it is a sustained and valid performance which does not seek to make the work into a vehicle for personal virtuosity (as in different ways so many conductors have done), and conjures up Berlioz's dark romantic vision.

As can be seen, the Nuits d'ete songs are shared. Berlioz first wrote them for mezzo-soprano or tenor and piano, then rewriting them to some extent and transposing the first three for the orchestral vision, probably because he then had particular singers in mind or each song. Boulez keeps to the orchestral version of the key sequence (which not all do) and divides them equally between male and female voices. So Stuart Burrows sings a fresh. lively "Villanelle", and this is followed by Yvonne Minton's richly phrased "Spectre de la rose" and "Sur les lagunes" (in which she takes, successfully, the option of a low F). Burrows returns for "Absence", which he sings admirably, though without stifling regrets that this of all songs might have suited Minton and the mezzo-soprano timbre (many will remember Janet Baker here). He also sings "Au cimetiere", leaving Minton to finish the cycle off with her warm performance of "L'ile inconnue". There can be no question or an authentic version when Berlioz left so many options open; this is a compromise, and even if one may have other preferences, it works well. Yvonne Minton goes on to show not only a fine voice but fine musicianship as she sustains Boulez in holding La mort de Cleopatre together so well. Berliozians will recognize one or two familiar ideas in this remarkable piece. notably one that was to serve again in Benvenuto Cellini, whose overture is given a sharp, vigorous performance here.

-- Gramophone [3/1995]

BRAHMS: SYMPHONIES 1-4, ETC.

Why beat around the bush? This is one of the greatest vocal recitals ever recorded, comparable to the Callas Puccini and Verdi recitals, and belongs in the collection of anyone with an interest in the verismo repertory. Renata Scotto was at the height of her considerable powers, the voice under near complete control and her interpretive instincts honed to perfection. It is a special treat to hear her in roles that she never recorded complete. Both her Lauretta from 'Gianni Schicchi' and her Manon are distinguished creations. It is also good to hear her roles she never performed such as Magda in 'La Rondine' and the title roles in 'Iris' and 'La Wally.'
Not everything is perfect. Like many great Mimìs, Scotto attempted Musetta, both on recording and onstage with little success. Scotto recorded relatively few recitals. In addition to this one there are especially fine joint recitals with Placido Domingo and Mirella Freni. The excerpts from four of her complete Sony recordings is a welcome bonus (the uncredited Pinkerton in the second Butterfly excerpt is Placido Domingo).

"Szell's Wagner collection, recorded in Severance Hall in 1965, remains one of his most impressive...To describe the Cleveland Orchestra as brilliant is inadequate, for the precision and beauty of tone clothe deeper understanding. The concert opens with Ormandy's physically thrilling account of the Tannhauser Overture. He also contributes an ebullient Lohengrin Act III Prelude."

-- Penguin Guide [2003/2004 Edition]

"The work . . . comes mostly from Scotland, from Herr Thomson, who tends to ask for a song without words: that is, he sends the tune he wants arranged for voice (or voices) and piano trio . . . . [T]he melodies are such charmers, have such unassuming strength and grace, that their arrival is like that of good company: wholesome stimulants of a composer's wit and skill, his heart too. Beethoven wrote 140 such arrangements, and here are 29 of them, each one a delight. . . . The performances are excellent: good singing and playing by all concerned, and though we may not have expected to find Josef MacProtschka among them he is welcome none the less. . . . The record is the most genial of musical companions, and none but the grumpy heart will want to miss it." -- Gramophone

THE BAROQUE LUTE EUGEN M. DOM

"Julian Rachlin has a rapturously wide tonal armoury. From the very opening of the Concerto he demonstrates an imaginative reach; his sound being slender yet nectar-sweet. What is more, Maazel and the Pittsburghers catch the same kindling spirit. There is an alacrity and engagement about their playing that is not always present in the symphonies. Rachlin deserves consideration alongside Spivakovsky (Everest), Oistrakh (BMG-Melodiya) and Mullova (Philips). This is no also-ran and neither is the gentle second serenade."

-- Rob Barnett, MusicWeb International

Codex Las Huelgas: Music from 13th Century Spain

An Enchanted Evening with Jose Carreras

Prokofiev: Peter and the Wolf - Saint-Saëns: The Carnival of

Verdi: Overtures & Preludes, Vol. 2

BARTOK: THE WOODEN PRINCE, ETC

DVOR·K: STRING QUARTET NO 14

AUTHENTIC RENAISSANCE AND BARO