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Editor's Choice 

‘Full of perceptiveness and personality’

Gramophone, January 2018

Grammy nomination 

[Best Choral Performance] Congratulations to Sir Andrew Davis, Toronto Symphony Orchestra & Toronto Mendelssohn Choir (see the full list here).

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Get your free copy of the new International Piano magazine cover feature with Louis Lortie.

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Concerto Choice

'A phenomenal talent'

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Get your free copy of the new Classical Music magazine issue featuring our star violinist Tasmin Little.

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Gramophone Awards

Congratulations to Silesian Quartet, winner of the Chamber Award for their Bacewicz album.

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The Best of Chandos
Latest Reviews
Performance ****          Recording ****
 
"... It's [Camerata Nordica] attention to exact intonation, unanimous ensemble and resonance of timbre is outstanding..."
Performance ****          Recording ****
 
"... It's [Camerata Nordica] attention to exact intonation, unanimous ensemble and resonance of timbre is outstanding..."
Bayan Northcott - BBC Music magazine - February 2018
Performance ****          Recording **** 

"... this is a searing account of the Rite. Petrenko judges the speeds acutely, always insistent, without simply trying to set landspeed records, and there's a visceral energy to the RLPO's playing, the orchestra cultivating a rawness of sound... a thrilling Rite."

Performance ****          Recording **** 

"... this is a searing account of the Rite. Petrenko judges the speeds acutely, always insistent, without simply trying to set landspeed records, and there's a visceral energy to the RLPO's playing, the orchestra cultivating a rawness of sound... a thrilling Rite."

Christopher Dingle - BBC Music magazine - February 2018

“... Debussy's six Verlaine settings, Ariettes Oubliées, are recorded here in orchestrated versions by composer/violist Brett Dean. It displays Kožená's fine musicianship though texts are unclear in the Jesus-Christus-Kirche acoustic. Linn's exemplary booklet essay deals with the interwoven lives of Fauré and Debussy, eg, how the commision for incidental music for Pelléas was refused by the latter - arranged by Koechlin the Suite recycles the very familiart Sicilienne, Op. 78. It's sympathetically performed with Ticciati, whose La Mer s impressive (but bass drum is rather too prominent in the finale).” ****½

“... Debussy's six Verlaine settings, Ariettes Oubliées, are recorded here in orchestrated versions by composer/violist Brett Dean. It displays Kožená's fine musicianship though texts are unclear in the Jesus-Christus-Kirche acoustic. Linn's exemplary booklet essay deals with the interwoven lives of Fauré and Debussy, eg, how the commision for incidental music for Pelléas was refused by the latter - arranged by Koechlin the Suite recycles the very familiart Sicilienne, Op. 78. It's sympathetically performed with Ticciati, whose La Mer s impressive (but bass drum is rather too prominent in the finale).” ****½

Christopher Breunig – Hi-Fi News – December 2017

Music ****          Sound *****

Music ****          Sound *****

Andreas Friesenhagen – Fono Forum magazine (Germany) – December 2017

”... With an interesting coupling and good performances, Robin Ticciati’s first recording with his Deutsches Symphonieorchester Berlin is attractive. Magdalena Kozena is a convincing performer in Brett Dean’s very good orchestration of Debussy’s Ariettes oubliées.” ****

”... With an interesting coupling and good performances, Robin Ticciati’s first recording with his Deutsches Symphonieorchester Berlin is attractive. Magdalena Kozena is a convincing performer in Brett Dean’s very good orchestration of Debussy’s Ariettes oubliées.” ****

Remy Franck – Pizzicato magazine (Germany) – October 2017

“It suits Ticciati’s considered way with Debussy uncommonly well. Everything is beautifully balanced and clear. Shifts in colour and texture are carefully teased out...” 

“It suits Ticciati’s considered way with Debussy uncommonly well. Everything is beautifully balanced and clear. Shifts in colour and texture are carefully teased out...” 

Tim Ashley – Gramophone magazine – October 2017

“... Fauré’s Prelude to Penelope surges and sweeps, Debussy’s Pelléas and Mélisande suite has a rich, sombre beauty and La Mer sounds robust, brooding and vast.”  ****

“... Fauré’s Prelude to Penelope surges and sweeps, Debussy’s Pelléas and Mélisande suite has a rich, sombre beauty and La Mer sounds robust, brooding and vast.”  ****

Kate Molleson – The Guardian – 14 September 2017
"... these superb performances by Court Lane Music make sure the huge warmth of the writing wins out. Holst was a lifelong advocate of other English composers; we owe it to her, and to ourselves, to keep listening to her brave and confessional works."  *****
"... these superb performances by Court Lane Music make sure the huge warmth of the writing wins out. Holst was a lifelong advocate of other English composers; we owe it to her, and to ourselves, to keep listening to her brave and confessional works."  *****
Kate Molleson - The Guardian - 15 September 2017
"Canadian soprano Barbara Hannigan opens this album with a reminder of what a stupidly seductive vocalist she is. She slits, warbles ad giggles through Berio's high-wire Sequenza III from 1965; she has a way of making everything just float... her effortless style is bewitching." ****
"Canadian soprano Barbara Hannigan opens this album with a reminder of what a stupidly seductive vocalist she is. She slits, warbles ad giggles through Berio's high-wire Sequenza III from 1965; she has a way of making everything just float... her effortless style is bewitching." ****
Kate Molleson - The Guardian - 15 September 2017
“... Davis’s performance, with Canadian pianists Louis Lortie and Hélène Mercier, is  a ... grandiose affair, helped by the spacious Chandos acoustic. The balance between soloists and orchestra is equal, and the slow Romanza movement contains beautifully expressive playing... Roderick Williams gives a sensitive performance. [Four Last Songs] ..."   ****½
“... Davis’s performance, with Canadian pianists Louis Lortie and Hélène Mercier, is  a ... grandiose affair, helped by the spacious Chandos acoustic. The balance between soloists and orchestra is equal, and the slow Romanza movement contains beautifully expressive playing... Roderick Williams gives a sensitive performance. [Four Last Songs] ..."   ****½
Phillip Scott - Limelight magazine (Australia) - 15 January 2018

“... Her technical mastery is extraordinary in one so young and she plays here with accuracy, fluidity and chutzpah – tempered by elegance and taste – which will leave the listener grasping for superlatives. She has the assuredness and maturity of someone twice her age and a glance at her repertoire shows that she already has several Classical and Romantic concertos at her fingertips, as well as a range of Baroque and contemporary works....”

“... Her technical mastery is extraordinary in one so young and she plays here with accuracy, fluidity and chutzpah – tempered by elegance and taste – which will leave the listener grasping for superlatives. She has the assuredness and maturity of someone twice her age and a glance at her repertoire shows that she already has several Classical and Romantic concertos at her fingertips, as well as a range of Baroque and contemporary works....”

Steve Moffat – Limelight Magazine (Australia) – 17 January 2018

“...the playing is beautiful and the meticulous interpretations reward repeated listening. A must-have for the Telemann fiends but a delight for all.”  ****

“...the playing is beautiful and the meticulous interpretations reward repeated listening. A must-have for the Telemann fiends but a delight for all.”  ****

Angus McPherson - Limelight magazine (Australia) - 8 January 2018
Artistic Guide: Great             Technical Judgement: Exceptional   (Dynamics: 5       Tonal Balance: 5      Sound Stage: 5      Detail:  5)
Artistic Guide: Great             Technical Judgement: Exceptional   (Dynamics: 5       Tonal Balance: 5      Sound Stage: 5      Detail:  5)
Andrea Bedetti - Audiophile Sound magazine (Italy) - November/December 2017
Artistic Judgement: Great/Exceptional            Technical Judgement: Great/Exceptional      (Dynamics: 5      Tonal Balance: 4     Sound Stage: 5      Detail: 4)
Artistic Judgement: Great/Exceptional            Technical Judgement: Great/Exceptional      (Dynamics: 5      Tonal Balance: 4     Sound Stage: 5      Detail: 4)
Andrea Bedetti - Audiophile Sound magazine (Italy) - November/December 2017
Artistic Judgement: Great        Technical Judgement: Exceptional (Dynamics: 5      Tonal Balance: 5      Sound Stage: 5      Detail: 5)
Artistic Judgement: Great        Technical Judgement: Exceptional (Dynamics: 5      Tonal Balance: 5      Sound Stage: 5      Detail: 5)
Andrea Bedetti - Audiophile Sound magazine (Italy) - November/December 2017
Artistic Guide: Great/Exceptional      Technical Judgement: Great    (Dynamics: 4    Tonal Balance: 4     Sound Stage: 4     Detail: 4)
Artistic Guide: Great/Exceptional      Technical Judgement: Great    (Dynamics: 4    Tonal Balance: 4     Sound Stage: 4     Detail: 4)
Andrea Bedetti - Audiophile Sound magazine (Italy) - November/December 2017

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Chandos Records
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Commerce Way
Colchester
Essex
CO2 8HX
United Kingdom