Several British cellists have had their quirky way with the piece but only two, Steven Isserlis and Natalie Clein, added contemporary edge. The road is wide open for a new cellist to claim ownership of the Elgar and for a long stretch of Paul Watkins’s fresh performance on Chandos I was prepared to be persuaded that he might be the one.
The ever-thoughtful pianist plays two books of Ligeti Etudes either side of Beethoven’s final sonata, the opus 111. It works – just. Ligeti’s skittish riffs pave a polite path for the massive C-minor cragface and, quite wittily, take us back down. Denk’s fingers know no fear.
The soprano's efforts to broaden her repertoire in recent years may have placed some strain in the voice. "Natalie Dessay never wanted to be a French 'teakettle soprano,' says Philadelphia Inquirer critic and Dessay fan David Patrick Stearns, referring to the small, nasal, very high sound typical of the "French school" of the late 19th and early 20th centuries. "She did not want the French sound and she did want an international career with an international repertoire—and she has pursued specific vocal training to achieve that." Stearns points out that Dessay made a few recordings early in her career which do present that Gallic timbre, a sound quite different from the one she now displays as Zerbinetta and Olympia—the sound that made her a worldwide star. "In broadening her repertoire and cultivating the voice to go with that, it's possible that she has...
In this new release for Harmonia Mundi, German baritone Matthias Goernepresents us with two gems of Bach’s cantata repertoire, with the texts ofboth BWV 56 and 82 exploring one’s sense of hope in death. Goerneadeptly interprets the paradoxical combination of hope and despair thatunderpins these works, deploying a graceful lyricism alongside a richer, darkerbass register.
La traviata sempre libera dessay natalie. Von in Allgemein veröffentlicht 28. Februar 2017 0 Kommentare. Essay, review Rating: 94 of 100 based on 130 votes.
The piece consists of piano interludes worked around a recitation of Lord
Tennyson's dramatic poem about two lads and a girl in a Scottish fishing
village. Philip loves Annie, who marries orphan Enoch, who gets lost at sea.
Philip marries desolate Annie, Enoch returns, sees them happy, disappears.
Strauss gives each character a credible leitmotiv, but there is not enough
in the tale to sustain a musical drama. Ax makes the most of thin gruel and
Star-Trek actor Patrick Stewart recites with classical elegance; it's all
bravely done and rather beautiful but the piece palls fatally on second
listening. The filler is a nice set of early Strauss piano pieces.
Mieczyslaw Weinberg (1919-1996) would have been mightily surprised at the attention that is turning his way these days. In the 1980s, as the Soviet Union fell apart, he let slip a regret that his work ‘belongs in the attic’ because it ‘cannot correspond to current fashion.’ A Hitler refugee and close friend of Dmitri Shostakovich, Weinberg wrote music that was tonal, rhythmic and melodically rich. He wrote too much – 27 symphonies, 17 string quartets, countless concertos. Finding a path into Weinberg is not easy. His opera The Passenger, now on the world circuit, divides critics and audiences alike. Where to begin? is the big question with Weinberg. Recent releases provide some strong tips.
There are two powerful reasons to rush out and buy this CD. One is that no soprano in two generations has sung Debussy with such idiomatic charm, unforced power and casual, off-the-shoulder elegance as the effulgent Natalie Dessay. The other is the record cover, a design that breaks all recent rules of record marketing and takes you back to the Art Nouveau world in which these songs were written. It has a certain je ne sais quoi. There may be one or two extra reasons, and I’ll get to them if time and space permit.
But first, Miss Dessay who made her name internationally as an irresistible comedienne in Italian, French and German opera. It is eight years, reportedly, since she last gave a solo recital and she has never troubled to make a solo record with piano. She describes herself as actress first, singer second – a comedienne, in the French sense of the word.
Viktor Ullmann (1898-1944) is known for the music he composed in Terezin camp, before he was murdered in Auschwitz. It includes three piano sonatas, nos 5-7, that are kept deliberately simple and expressive for his camp audience yet still convey the ideas of his mentor, Schoenberg and Haba. Lala Isakova interprets with high skill and deep sympathy.
Francis Poulenc, ‘part-monk, part-thug’ (in a friend’s estimation) never holds one pose for very long. His flickering attention span challenges players and listeners alike, especially in the sonatas for solo instrument and piano that comprise the first of these two discs. It takes a truly thoughtful oboist or flautist to make their sonatas sound heaven-sent. Members of the London Conchord Ensemble, accompanied by Julian Milford on piano, cannot be faulted for effort or expression. Occasionally, the line of argument is either too pretentious or just not strong enough to sustain the listener’s undivided interest. These sonatas need to be taken in single doses.
A child finalist in the BBC Young Musician of the Year, Briggs has grown into a thoughtful, determinedly old-fashioned interpreters of the core classics. Her account of the op 110 sonata is rooted unfashionably in the world of Mozart and Haydn. The 32 Variations in C minor are even more conservatively conceived. Yet, unflashy as her playing might seem, there is no mistaking the passion.