Category: Recordings

The legacy of the late conductor Giuseppe Sinopoli includes a number of fine recordings of Mahler’s music, and among them is his Deutsche Grammophon recording of the composer’s Fourth Symphony with the Philharmonia Orchestra and the soprano Edita Gruberova.

If, dear reader, a desire has ever swept over you (a desire such as a pregnant woman’s craving for vanilla ice cream with pickles) to hear music reminiscent of both Messiah and the Fingal’s Cave overture, CPO is just the musical ice cream parlor/deli for you.

The true opera fan devotes almost as much time, if not more, to the “what might have been” careers as to those of the superstars.

Archival radio recordings of complete operas seldom have ideal sound, but the audio is usually sharper than that of a live performance while still carrying a comparable dramatic immediacy.

Among the important recent cycles of Mahler’s symphonies is the one underway by Valery Gergiev with the London Symphony Orchestra.

Beethoven’s Fidelio is actually several works combined — a rescue opera in the grand style of the French revolution, a sentimental comedy focusing on mistaken identity, and a tragÈdie bourgeoise involving a husband, a wife, and their efforts to re-unite despite the actions of a relentless and implacable foe.

After thoroughly enjoying Daneille de Niese’s recording Handel Arias, I jumped at the chance to review her new recording, The Mozart Album. Her Handel interpretation was full of coloratura, clarity and virtuosity, along with an organic fusion of music serving drama. So I was eager to hear her perform Mozart.

This 4-CD set gathers together solo recital material and extracts from complete opera sets that Franco Corelli recorded between 1959 and 1968, the prime of his career.

Following from the fine collaboration between Stephan Genz and Roger Vignoles on an ambitious collection of various sets of Mahler’s Lieder (Hyperion CD 67392), which includes some of the composer’s early settings of poetry from the anthology Des Knaben Wunderhorn, the present recording contains thirteen later settings from that source.

This 1958 RAI broadcast of Bellini’s early masterpiece requires the accustomed aural compromise for maximum enjoyment.