Year: 2006

CPO has recently given us a lot of wonderful Lehar recordings like Eva, Der Rastelbinder or Der Sterngucker (admired by Hofmannsthal who exclaimed after a performance: ëI wish, Lehar had composed Rosenkavalierí).

In the 1930s, Poulencís turn to writing sacred choral music such as the Litanies ‡ la vierge noire and the Mass in G was closely linked to his new embrace of Roman Catholicism following the death of a close friend, the composer Pierre-Octave Ferroud.

The Bach Passions combine drama, sublimity of expression, and deeply devotional reflection in such a powerful way that we invariably tend to set them apart from other liturgical works.

Maybe a looking glass will help you to decipher the reprint in this CDís inside cover of a small article on the soprano by Terry McEwen, who was Manager of the Classical Divison of London Records at the time of recording.

Deutsche Grammophon was one of the many labels for which Nilsson recorded and the company decided to commemorate her passing by offering us most of her not so very large catalogue.

We are reasonably sensitive, I suspect, to the number of ways in which venue can shape the nature and success of musical performance.