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    Box Set winners announced!

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   Ivan Ilic live Reicha Video

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   We Turn 40!

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Sue Revill   Sue Revill

    (1955-2019)

    A Tribute

 

   BBC Music Mag Win!

    Early Opera Co. wins award

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Tasmin Little Honoured

Tasmin Little awarded Personality of the Year at BBC

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  Grammy nomination

  'Serenade to..' up for award

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Presto Award winner!

Federico Colli wins Top 10 Recording of the Year

Read the full list here

 

Diapason d'Or de l'Année

Chandos won two awards, including Sound Recording

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ICMA nominations

Chandos has been nominated for two ICMA awards 2019!

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Album launch

Congratulations to Ferio for a fantastic Rhinegold Live!

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Musician in Residence

Ivan Ilic is new Musician in Residence at Ulster University

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Lifetime Achievement

Neeme Järvi wins Lifetime Achievement Award

Download free album here

 

Finley's special release

Gerald Finley has released a single ahead of LNOTP 2018.

Download the track

 

Album of the Week

New release Finzi album is the Guardian's Album of Week.

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Gramophone Nomination

For Bergen Philharmonic's Grieg album, congratulations!

Click for the full shortlist

 

Doric String Quartet 

Doric Quartet feature on the cover of the Strad

Read a snippet here

 

100th anniversary of RAF

Some of the finest RAF bands on one album to celebrate

Listen here

 

Ilic: Reicha Rediscovered

All 4 episodes of the series are now available.

Watch here

 

Allan Clayton: RPS winner

Allan wins RPS 2018 Singer award - congratulations!

Order his new album here

 

Apple Music Curator

Hear new playlists, remember classics, discover new music.

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Grammy Award Winners

Congratulations to distributed labels on Grammy wins

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Latest Reviews
"... If you're already an Enescu fan, you needn't hesitate."
"... If you're already an Enescu fan, you needn't hesitate."
Richard Bratby – Gramophone magazine – November 2018

Performance ****      Recording *****

“… Thanks to Romanian musicians Cornel Taranu and Sabin Pautza who have reconstructed Strigoii and clothed it in suitably idiomatic instrumentation, as well as to the fine vocal and orchestral contributions on this recording, we can now appreciate a fascinating score whose most striking feature is the extensive declamatory speaking role for the narrator… Another intriguing discovery is the early unpublished Pastorale fantasie for small orchestra … an attractive and imaginative work, and it is played here with great warmth and sensitivity.”

Performance ****      Recording *****

“… Thanks to Romanian musicians Cornel Taranu and Sabin Pautza who have reconstructed Strigoii and clothed it in suitably idiomatic instrumentation, as well as to the fine vocal and orchestral contributions on this recording, we can now appreciate a fascinating score whose most striking feature is the extensive declamatory speaking role for the narrator… Another intriguing discovery is the early unpublished Pastorale fantasie for small orchestra … an attractive and imaginative work, and it is played here with great warmth and sensitivity.”

Erik Levi – BBC Music magazine – Christmas 2018

“This is another attractive program with works by Walter Braunfels. Gregor Bühl and Tatjana Blome play with conviction and dramatic expressivity.” ****

“This is another attractive program with works by Walter Braunfels. Gregor Bühl and Tatjana Blome play with conviction and dramatic expressivity.” ****

Norbert Tischer – Pizzicato.lu – 23 October 2018
"Ukrainian composer Zara Levina has written two really great piano concertos, which are now finally available in a modern recording of good quality. Both pianist Maria Lettberg and conductor Ariane Matiakh are truly committed to give very effective performances of this rewarding music." *****

 

"Ukrainian composer Zara Levina has written two really great piano concertos, which are now finally available in a modern recording of good quality. Both pianist Maria Lettberg and conductor Ariane Matiakh are truly committed to give very effective performances of this rewarding music." *****

 

Remy Franck – Pizzicato.lu – 24 February 2017

“… Two of the soloists are Slovakian; the bass-baritone Adam Plachetka is Czech. The score is full of vivid colour and recurrent motifs, the highlight of which is the frightening nocturnal journey to impending doom, a riveting affair well conveyed in this well-paced and idiomatic-sounding recording. Meister respects the importance of the wind writing in this score, balancing it well against the strings. Simona Šaturová is good, her early reminiscence of her lover being warmly and longingly textured even if she is very slightly shrill at the top of her range. Her prayer scene is particularly well done.  Adam Plachetka’s youthful, pliant bass is attractive…”

“… Two of the soloists are Slovakian; the bass-baritone Adam Plachetka is Czech. The score is full of vivid colour and recurrent motifs, the highlight of which is the frightening nocturnal journey to impending doom, a riveting affair well conveyed in this well-paced and idiomatic-sounding recording. Meister respects the importance of the wind writing in this score, balancing it well against the strings. Simona Šaturová is good, her early reminiscence of her lover being warmly and longingly textured even if she is very slightly shrill at the top of her range. Her prayer scene is particularly well done.  Adam Plachetka’s youthful, pliant bass is attractive…”

Jonathan Woolf – MusicWeb-International.com – 30 June 2017

“It was high time for a new recording of Dvorak’s cantata The Spectre’s Bride. Fortunately, the performance is very good, with Cornelius Meister giving the music a lot of passion and drama without neglecting the more lyrical side. Soloists, choir and orchestra respond persuasively to Meister’s conducting.”  *****

“It was high time for a new recording of Dvorak’s cantata The Spectre’s Bride. Fortunately, the performance is very good, with Cornelius Meister giving the music a lot of passion and drama without neglecting the more lyrical side. Soloists, choir and orchestra respond persuasively to Meister’s conducting.”  *****

Remy Franck – Pizzicato.lu – 11 May 2017

“Simona Šaturová is pure and innocent as the girl but thrills when she throttles up. Pavol Breslik is smooth and eager as her ghostly spouse, Adam Plachetka sage-like as the narrator. A nice little discovery… “

“Simona Šaturová is pure and innocent as the girl but thrills when she throttles up. Pavol Breslik is smooth and eager as her ghostly spouse, Adam Plachetka sage-like as the narrator. A nice little discovery… “

Andrew Mellor – Gramophone magazine – May 2017

“… Simona Šaturová’s use of language is the chief distinction of her work: you hear in her inflections both the girl’s naïveté and her capacity for love. Pavol Breslik’s vocal equipment shades similarly light, and one can easily imagine a more heroic tenor in the role. But the very ingenuousness of his sound makes him a convincing seducer. He shows us how, despite the infernal circumstances, the maiden can hear her sweet lover in the specter’s blandishments. The voice itself betrays some moments of unsteadiness toward the beginning, but it gathers focus throughout the proceedings—a result, no doubt, of the live performance—becoming marvelously fresh and free for the work’s climax. Adam Plachetka uses his lyric but dark-tinged bass-baritone to assert himself at the center of the performance: the narrator becomes the all-seeing presence who draws us into the cantata’s fantastic realm. “

“… Simona Šaturová’s use of language is the chief distinction of her work: you hear in her inflections both the girl’s naïveté and her capacity for love. Pavol Breslik’s vocal equipment shades similarly light, and one can easily imagine a more heroic tenor in the role. But the very ingenuousness of his sound makes him a convincing seducer. He shows us how, despite the infernal circumstances, the maiden can hear her sweet lover in the specter’s blandishments. The voice itself betrays some moments of unsteadiness toward the beginning, but it gathers focus throughout the proceedings—a result, no doubt, of the live performance—becoming marvelously fresh and free for the work’s climax. Adam Plachetka uses his lyric but dark-tinged bass-baritone to assert himself at the center of the performance: the narrator becomes the all-seeing presence who draws us into the cantata’s fantastic realm. “

Fred Cohen – Opera News – May 2017

“… [Meister] tends to emphasise the lyrical aspects of Dvorák’s score. But there are shapely solo contributions from the ORF orchestra, and certainly some very fine expressive singing from soprano Simona Šaturová as the girl and tenor Pavol Breslik as the spectre.”

“… [Meister] tends to emphasise the lyrical aspects of Dvorák’s score. But there are shapely solo contributions from the ORF orchestra, and certainly some very fine expressive singing from soprano Simona Šaturová as the girl and tenor Pavol Breslik as the spectre.”

Andrew Clements - The Guardian – 30 March 2017

“… Meister, one of Germany’s rising conductors, makes a strong case for it with his Viennese forces and Slovakian and Czech soloists. Simona Saturova is steely, if occasionally unsteady, as the distraught Bride, Pavol Breslik’s lyric tenor expands into the Spectre’s strenuous music, and Adam Plachetka...is an exemplary narrator, leading the commentating chorus”

“… Meister, one of Germany’s rising conductors, makes a strong case for it with his Viennese forces and Slovakian and Czech soloists. Simona Saturova is steely, if occasionally unsteady, as the distraught Bride, Pavol Breslik’s lyric tenor expands into the Spectre’s strenuous music, and Adam Plachetka...is an exemplary narrator, leading the commentating chorus”

The Sunday Times (Culture magazine) – 26 March 2017

“… This is really a fine performance in which the soloists’ voices sound especially well cast for their roles. The drama is palpable, the singing quite stunning, and the orchestral playing visceral in its impact.”

“… This is really a fine performance in which the soloists’ voices sound especially well cast for their roles. The drama is palpable, the singing quite stunning, and the orchestral playing visceral in its impact.”

Jerry Dubins – Fanfare – May/June 2018

“…The RSO Wien shows itself off splendidly under Paris-born Bertrand de Billy. The three singers communicate a variety of shifting moods, nearly always maintaining beautiful firm tone—no barking or shouting. The roles of husband and wife in this marvellously wordy opera are taken by native German-speakers: Heidi Brunner and Wolfgang Koch. The American tenor Charles Reid offers a no-less-persuasive reading of the interloping lover, Guido Bardi. Reid performed at the Met for nine seasons. I recommend this astonishing work—dramatically taut but emotionally expansive, not least in the orchestral underscoring—to anybody who responds well to the operas of such composers as Debussy, Mascagni, Richard Strauss, Janacek, Bartok, Korngold, and Hindemith. “

“…The RSO Wien shows itself off splendidly under Paris-born Bertrand de Billy. The three singers communicate a variety of shifting moods, nearly always maintaining beautiful firm tone—no barking or shouting. The roles of husband and wife in this marvellously wordy opera are taken by native German-speakers: Heidi Brunner and Wolfgang Koch. The American tenor Charles Reid offers a no-less-persuasive reading of the interloping lover, Guido Bardi. Reid performed at the Met for nine seasons. I recommend this astonishing work—dramatically taut but emotionally expansive, not least in the orchestral underscoring—to anybody who responds well to the operas of such composers as Debussy, Mascagni, Richard Strauss, Janacek, Bartok, Korngold, and Hindemith. “

Ralph P Locke – American Record Guide – March/April 2018

“With some very good singing and passionate playing by the ORF Orchestra under the baton of Bertrand de Billy, Zemlinsky’s short opera A Florentine Tragedy after Oscar Wilde’s unfinished play gets a performance with plenty of feeling.”  *****

“With some very good singing and passionate playing by the ORF Orchestra under the baton of Bertrand de Billy, Zemlinsky’s short opera A Florentine Tragedy after Oscar Wilde’s unfinished play gets a performance with plenty of feeling.”  *****

Uwe Krusch – Pizzicato.lu - 21 February 2018

“… [Botha] gives what is mostly a fine account of the role of Giorgetta’s young lover Luigi, his tone vital and with a healthy ring at the top of the voice; but at times there is a suggestion of containment…But the real stars of the disc are the high-quality orchestra, which brings both definition and rich, subtle tonal colours to the score, and the conductor Bertrand de Billy, whose sense of atmosphere and line allow him to convey with conviction the ebb and flow of Puccini’s concentrated masterpiece.”

“… [Botha] gives what is mostly a fine account of the role of Giorgetta’s young lover Luigi, his tone vital and with a healthy ring at the top of the voice; but at times there is a suggestion of containment…But the real stars of the disc are the high-quality orchestra, which brings both definition and rich, subtle tonal colours to the score, and the conductor Bertrand de Billy, whose sense of atmosphere and line allow him to convey with conviction the ebb and flow of Puccini’s concentrated masterpiece.”

Opera magazine – October 2018

“… an impressive display of vocalism, with good work from the supporting cast …”

“… an impressive display of vocalism, with good work from the supporting cast …”

Hugo Shirley – Gramophone magazine – July 2018

“… Bertrand De Billy leads a spirited, well-paced account. He never allows the pace to flag, though he allows time for the quieter moments to unfold so the moments of greater tension are that much more effective. Elsa van den Heever has had quite a bit of success at the Met among other places in the last five years, appearing as the vindictive Queen Elizabeth in Donizetti’s Maria Stuarda and a soaring Chrysothemis in the revival of Strauss’s Elektra. Her voice may not be ideally Italianate for this music, yet she sings strongly and securely with an excellent top (a must for Puccini sopranos). She may not be as specific in her choices as Renata Scotto, but she creates a vivid character.”

“… Bertrand De Billy leads a spirited, well-paced account. He never allows the pace to flag, though he allows time for the quieter moments to unfold so the moments of greater tension are that much more effective. Elsa van den Heever has had quite a bit of success at the Met among other places in the last five years, appearing as the vindictive Queen Elizabeth in Donizetti’s Maria Stuarda and a soaring Chrysothemis in the revival of Strauss’s Elektra. Her voice may not be ideally Italianate for this music, yet she sings strongly and securely with an excellent top (a must for Puccini sopranos). She may not be as specific in her choices as Renata Scotto, but she creates a vivid character.”

David Reynolds – American Record Guide – July/August 2018

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Chandos Records
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Colchester
Essex
CO2 8HX
United Kingdom