A longtime Delos partner, composer Mark Abel releases his seventh album on the label. Matter-of-factly titled 4.4.2, it features the world premiere recording of four works for two musicians. A combination of vocal and chamber music, the album offers an enticing glimpse into Abel's wide-ranging soundworld, showcasing one of America's most original compositional voices alongside an impressive roster of internationally accomplished artists. The five-star cast includes rising mezzo-soprano Simone McIntosh, flutist Alice K. Dade, violinist Jennifer Choi, cellist Jonah Kim and pianists Michael McMahon, Ieva Jokubaviciute and Keisuke Nakagoshi, and the composer himself on the organ. 4.4.2 is sure to continue to solidify Mark Abel as "a compositional master of intriguing contemporary music."

In the wake of the beloved Russian baritone Dmitri Hvorostovsky's untimely passing in November 2017, tributes, memorials and musical event dedications have flowed non-stop. But none thus far has matched the sheer scope, power and sonic splendor of this all-Russian performance of Verdi's blockbuster Requiem Mass. The all-star cast of soloists- soprano Dinara Alieva, mezzo-soprano Olesya Petrova, tenor Francesco Meli and bass Dmitry Belosselsky- sing their hears out for Dmitri, under the baton of the vaunted Maestro Yuri Temirkanov leading the St. Petersburg Philharmonic Orchestra and the Bolshoi Theater Chorus. The result is an incredibly heartfelt and moving musical tribute to one of the greatest baritones who has ever lived.

A Musical America New Artist and BBC Rising Star, Ian Niederhoffer is a fast-rising, young conductor. Here, together with his orchestra Parlando, he explores music as a tool of cultural resilience in the face of censorship, particularly within the Soviet Union. This eclectic program includes Shostakovich's Adagio from Lady MacBeth of Mtsensk, a work infamously censored after Stalin's disapproval, the Concertino for Violin and String Orchestra by Mieczyslaw Weinberg, a composer whose career was shaped by persecution during Stalin's anti-cosmopolitan campaign, and Edvard Mirzoyan's Symphony for String Orchestra and Timpani, which is a powerful testament to Armenian cultural survival despite Soviet Russification. Inspired by Parlando's mission that "every concert tells a story", the album ends with three narrated tracks detailing Soviet censorship.

Soprano Isabel Bayrakdarian is the originator for this project which was her fulfilment of the promise she made a couple of years ago in prayers offered to save her mother’s life when she committed to produce a collection of hymns and chants written in praise of the Virgin Mary. She has brought together 18 of these that amazingly cover a period ranging from a composer who died only 30 years ago back to one who died well over 1500 years ago! Of course it is almost impossible (I say almost because I don’t know) to be sure that anything written that long ago would sound as it is interpreted here but suffice it to say that those about which we can be more certain (13th-17th century) are not so very different in their sound world to those written much nearer our time. They are all connected by a sound that is intoxicatingly ethereal. The occasional use of a cello or percussion accompaniment works very well but it is the unaccompanied voices that are so wonderfully evocative as well as incredibly restful, just the thing to effect a detox for the mind after a stressful day. Isabel Bayrakdarian is the key to this for her voice is an extraordinary instrument that is crystal clear with pinsharp diction and I say this despite the fact that I know no Armenian once I located the place in the text, which is not just given in English but is transliterated into Latin characters, I could follow the words so clearly an Armenian speaker would have no difficulty in doing so. Her accompanying singers, whether the vocal group Coro Vox Aeterna, her two sisters or the other two sopranos, give great support while the cellist, Ani Aznavoorian, also of Armenian origin, has a wonderfully rich tone which so perfectly complements the voices and her brother provides percussive support using instruments that are traditionally used in Armenian church services adds yet another layer to the proceedings when called for.

It is an interesting fact that hymns and chants that in several instances go back so long into what can truly be called ‘ancient history’ are the mainstays of today’s Armenian Orthodox church worship for I certainly know of no such parallels in other strands of Christianity and it shows the strength of undiluted tradition. I wouldn’t try to pick out any of these mesmerising items out for singular praise as they are all equally magnificent in their affecting power.

Anyone who enjoys the experience of the voice as instrument cannot fail to find this issue a fascinating and captivating listen. If you find the other-worldly sounds of Russian or Bulgarian Orthodox Church choirs with their rich basses addictive then the correspondingly high voices of these Armenian voices will weave their magic just as powerfully translating into a heady brew that will keep you spellbound.

– MusicWeb International (Steve Arloff)

“Elegance and poetry... silvery tone, beautifully controlled… phrases flowing and immaculate.” (Okinawa News) Italian virtuoso flutist Raffaele Trevisani continues to exemplify such praise in this, his ninth Delos recording. His graceful elegance and interpretive warmth are evident in this all-Mozart program containing some of his loveliest music despite his rather low regard for the flute. A rare bonus is the faithful transcription for flute of the masterly Quartet for Oboe, K370. Mr. Trevisani’s three collaborators are members of the renowned Suk Chamber Orchestra.

Following critical acclaim from The New York Times, Gramophone, and BBC Music Magazine for his album Forgotten Sounds, clarinetist Graeme Steele Johnson returns to Delos with Windsync. "A major force in the American chamber music landscape," the wind quintet has performed throughout the United States and abroad, presenting largely self-generated repertoire - commissioned by the group or arranged in-house. On this album, the musicians trace the stylistic diversity of American music back to a single source: not a founding father but a French mademoiselle, Nadia Boulanger. The composer, conductor, music theorist, and legendary composition pedagogue wielded immense influence over American music and musicians. The formidable roster of Boulanger students featured on this album bear witness to this: Philip Glass, Elliott Carter, Quincy Jones, and Marion Bauer, whose Woodwind Quintet has been revived and recorded here for the first time. On Nadia, Windsync hopes to humanize Mademoiselle, as she was known by her pupils, by telling her story through a century's worth of music written by teacher and students - a legacy of dizzyingly varied American music that reverberates to this day.

Close your eyes, lean back and enjoy!

In October last year, I reviewed for MusicWeb International, the first volume of songs by American composer Margaret Ruthven Lang. She was unknown to me at the time, and naturally, I had never heard her music. Little did I know that I was in for a treat! Indeed, Volume I of Lang’s selected songs was a very pleasant surprise. The music was exquisite and beautifully matched the lyrics. It made me think: where on Earth had this composer been hiding all my life! For me, it was a revelation, which was why I selected it as one of my Recordings of the Year 2011. I have been anticipating the launch of the second volume. Well, it is here now, under the charming title of New Love Must Rise. I am very pleased to say that it does not disappoint; on the contrary, if anything, it is even better than the first.

In a brief interview to me, via e-mail, tenor Donald George, who performs the songs with pianist Lucy Mauro in both volumes, said of Lang’s work: “The songs are simple, eminently singable and enjoyable. They work in the singing voice”. For me, this is exactly why the songs have an instant appeal and the reason why one is happy to listen to them repeatedly. As with the first CD, the songs are organised into topics: The Garden, The Twilight, Nonsense Rhymes and Pictures and Tomorrow and a Lullaby. The recording opens with On an April Apple Bough; a gorgeous piece and one of my favourites in Volume II. Although not the most difficult to perform, its heart-warming, poetic melody immediately has you hooked! All the other songs within the Garden topic are equally beautiful but there are two that stand out and which I would describe as two mini-masterpieces. The first, I Knew the Flowers Had Dreamed of You, is delicate and lyrical. The second, Nameless Pain, sets a poem by Thomas Bailey Aldrich, where the music perfectly illustrates the poetry. It is vibrant, poignant and powerful all at the same time; if you close your eyes, you can almost feel the summer wind or the scent of the rose and sense the nameless pain of the poet.

These two precious gems are by no means unique. The second topic, The Twilight, begins with another of these little treasures, Song in the Songless. This is on a poem by George Meredith from “A Reading of Life”. It is an extraordinary piece, emotionally very expressive, almost operatic. It is probably one of the most difficult to sing but also one of the most effective dramatically. It works almost like a duet between the voice and the piano. Donald George does it justice and has here the opportunity of showcasing an excellent technique, with some very warm, confident high notes, a very fine crescendo and the right level of sentiment. The piano line is exquisite and engaging, particularly on its own when responding to the voice. Lucy Mauro’s delicate touch and flawless technique give us a luminous sound of great beauty, adding to the emotional impact of the song.

Besides the abovementioned little masterpieces, there is much to enjoy and admire. All the songs within the second topic, The Twilight, are simply adorable; often evocative of a certain romantic atmosphere that adds to the general charm. Then, there is the very funny, at times witty group of Nonsense Rhymes and Pictures, effectively performed by George and Mauro with humour and a real sense of fun. I felt like jumping in and singing along! The last topic, Tomorrow and a Lullaby, is perhaps, from my perspective, as a linguist, the most fascinating section of the recording. It includes a song in German Lied der Nebenbuhlerin and one in French Lament. These songs are not better than the ones in English but it is remarkable how well Lang is able to compose to languages that were not her own. It shows her versatility, knowledge and sensibility.

Tenor Donald George and pianist Lucy Mauro are in this CD, as in the first, in fine form. The musical rapport between them is transparent throughout, as is their obvious admiration for the composer. They revel in the music; their sheer delight is contagious and, like me, you will suddenly realise that you are smiling, all alone in a room, for no apparent reason!

I could go on forever, describing the intricate beauty of Margaret Lang’s songs, one by one, but then, this review would become far too long! To summarise: the songs of the second volume are as admirable as the ones of the first. Lang’s music is full of appealing melodies and sophisticated harmonies but most of all, the songs have a freshness, an innocence of days gone by. They are often deceptively simple but the more one listens, the more one grasps their delicate complexity. This collection of little musical treasures comes, yet again, in an attractive, colourful package as delightful as the music. There are some very interesting, informative notes, on the composer and her songs, written by Lindsay Kooth.

Finally, I would like to end by making a simple suggestion: Get the recording, close your eyes, lean back and enjoy!

-- Margarida Mota-Bull, MusicWeb International

Learn more about pianist Carol Rosenberger and the Delos label on the Naxos Classical Spotlight podcast!

“… a strong and individual artist whose depth of feeling and technical control are never in doubt.” (Gramophone) This lush and lovely album offers beguiling masterpieces for cello and orchestra by Russia’s most revered composer- played to perfection by the musical team of renowned Russian-American cellist Nina Kotova, with the legendary Russian maestro Vladimir Fedoseyev leading Moscow’s Tchaikovsky Symphony Orchestra- all musicians who have these soulful pieces in their very bones. Kotova and company begin with Tchaikovsky’s lively Pezzo capriccioso before serving listeners the main course: one of the world’s most beloved works for cello and orchestra, the gorgeous Variations on a Rococo Theme. Then the cellist bows out as we are treated to one of the composer’s greatest orchestral pieces of smaller scale, the shimmering Serenade for Strings. In all, it’s a program filled with soaring melodies and sheer musical delight.

REVIEW:

What’s so singularly impressive about Kotova’s interpretation and exposition of Tchaikovsky is her awareness of the music’s meaning. This allows her to eschew exhibitionism and translate Tchaikovsky’s musical purpose with pensive meticulous introspection.

Her understanding and elucidation of Tchaikovsky is nonpareil, flamboyant yet measured, but still emanating the turbulence of the music’s emotional impact. Her technique is immaculate and, in combination with her intuitive feel for Tchaikovsky, the end result is a confection of pure elegance.

– Huffington Post

Tenor Charles Castronovo celebrates his first Delos solo album with an all Verdi programme which showcases the composer's spellbinding use of theatrical devices. Noble Renegades offers a collection of complete scenes from operas such as Don Carlos, Luisa Miller and I Lombardi which encompass the emotional arc the protagonists experience as the story unfolds, very much epitomizing Verdi's vision of opera as a true "operatic theater". This album shows Verdi's profound influence on Charles's career, featuring roles he has performed all over the world. He is accompanied by "the singer's dream collaborator" Constantine Orbelian and his Kaunas City Symphony Orchestra. Distinguished singers Kristin Sampson, Tomas Pavilionis and Tadas Girininkas, as well as the Kaunas State Choir join in.