“While The Miraculous Mandarin suite is regularly on the programme, The Wooden Prince is not. All the more pleasing is the new convincing recording of this ballet music by Susanna Mälkki and her Finnish orchestra. The performance of the Miraculous Mandarin Suite is no less powerful and exciting.” *****

“German-Danish composer Friedrich Kuhlau was a representative of the so-called Golden Age in Denmark. His works for violin and piano are less known but valuable. The artists play in a straightforward and concise manner, thus supporting Kahlua’s compositional approach, which focuses on sublime, stylish expression and not on shallow entertainment.” *****

“…Giovanni Antonini and his orchestra Il Giardino Armonico play music from the Renaissance. The motto of the program is the Death of Reason, which leads to passionate and even rough performances.” ***

Supersonic

“…Trio Zimmermann presents a new version of Bach’s Goldberg Variations, keeping the texture as near as possible to the original. This allows a surprising new view on this opus. Needless to say that the Trio’s playing is outstanding.”

“ …Apart from the intelligent program design with its many references and inspirations, it is above all Tan’s playing that fascinates with its beauty and lightness.” *****

Recommended

“… listening to Oramo’s Lemminkäinen Suite - he reverses the order of the two middle sections - I was very impressed by the body and blend of sound he coaxes from his orchestra, the players clearly at ease with themselves and the music. There’s plenty of momentum as well, with tempi and phrasing nicely judged. As for those distinctive Sibelian climaxes, they’re all the more powerful for being properly scaled and sensibly - yet thrillingly - recorded. More important, I was bowled over by the vitality and fine detail of Oramo’s reading … Spring Song finds Oramo and his players at their pliant and poetic best, with silken strings and a lovely orchestral blush. Really, I can’t remember when I last heard the BBC Symphony play with such radiance or pure sense of purpose, Oramo a sure and steady guide throughout. (An inspiring one, too.)… Oramo and his orchestra refresh and illuminate this repertoire in ways I’d scarcely thought possible. And what higher praise can I give than that? Seductively sonorous Sibelius, brimming with colour and character; very impressive recording, too.”

“Superbly played rumination on meeting of musical minds.” ****

“… this live recording from 2014 sees the Munich Radio Symphony Orchestra under Stefan Blunier give a solid reading, with emphasis given to its obvious Schumann and Wagner-inspired orchestral writing. As Lenore, soprano Michaela Kaune is sometimes threadbare of tone but dramatically convincing, balancing timidity and singlemindedness, while Thomas Mohr copes admirably with the technical demands of Otto, showing off an attractive timbre. And in the thankless role of his fiancée Bertha, Magdalena Hinterdobler shows lovely vocal control and fine, affecting understanding of text.” ***½

“… Gál’s colourful score paints a magical, psychological world, which Andreas Hotz renders vividly with the Osnabrück Symphony Orchestra. Lina Liu sings Lianora with a steely soprano, but her aria Was ist gewesen? (What has happened?) – over anxious, dreamlike glittering in the orchestra – sees it soften. Gritt Gnauck brings an authoritative mezzo to the ‘stony Abbess’, while baritone Rhys Jenkins is an intense Tancred and Ralph Ertel brings a heroic tenor to The Nameless Singer. Soprano Susann Vent-Wunderlich is lady-in-waiting Hämone and bass-baritone Oliver Weidinger is the Chancellor. There are great moments: Ertel’s ‘song of the night’, against lute-like strings, is a highlight, as is the Prelude to Act II. Well worth a listen for anyone interested in a lost treasure of 20th-century opera.” ****

“Wilson reveals the other side of a British film composer… The performances and recording are superb …” ***

“…there is some memorable music to be found with some marvellous moments anticipating the composer’s mature style. This latest installment in Chandos’ survey of Spanish music makes a fine addition to the work’s discography. I admired Mena’s previous release of Falla’s masterworks so his refined ear and idiomatic flair pays dividends here, aided and abetted by superb recorded sound – the haunting opening with offstage men’s chorus ideally balanced and the anvils for once sound convincing. The polished wind and brass of the BBC Philharmonic does justice to Falla’s marvellous orchestral effects … The imported chorus and Latin cast sound suitably authentic …”  ****

“… This fourth release brings concertos Nos 20 and 21, the latter freshened by fingering quirks and cadenzas devised by the maverick Friedrich Gulda… you can’t fault him [Bavouzet] for crystal clarity, ensemble spirit and the springing of pleasant surprises.”

Album of the Week

“… The interplay between the pianist and the woodwind soloists is especially rewarding in these compelling performances.”

“… enthralling performances … as fresh and immediate as they were live… The Dorics (with violinist Hélène Clément playing Britten’s viola) captures every mood, from steely to poetic to tragic, the structure of each work ever clear. Essential listening.”

“… Gardner’s well-drilled, expressive forces have the ever-imposing music’s measure. Todenes gives a beautiful account of the Sanctus… “

"... Stephen Cleobury looks towards the sunset of his long reign at King's with a disc that. frolicsome Monteverdi and celebratory Scheidt aside, consists largely of songful serenity." ****