Performed by Lawrence Power (viola) & Simon Crawford-Phillips (piano)

The selections are as follows:

Shostakovich:

• Un peu triste

(after Prelude No 10) arr. Yevgeny Strakhov

• Marche funèbre

(after Prelude No 14) arr. Yevgeny Strakhov

• Une valse vite

(after Prelude No 15) arr. Yevgeny Strakhov

• Une valse militaire

(after Prelude No 16) arr. Yevgeny Strakhov

• Mélodie amoureuse

(after Prelude No 17) arr. Yevgeny Strakhov

• Une danse ironique

(after Prelude No 18) arr. Yevgeny Strakhov

• Finale

(after Prelude No 24) arr. Yevgeny Strakhov

• Viola Sonata, Op. 147

• The Gadfly (excerpts)

arr. Vadim Borisovsky

Lawrence Power performs the chamber music of Shostakovich. The center piece is the Viola Sonata, Shostakovich’s last completed work, premiered posthumously, on what would have been the composer’s sixty-ninth birthday. The amazing slow finale reworks the opening of Beethoven’s ‘Moonlight’ Sonata—a tribute to a composer he revered.

Shostakovich, the film composer, also takes a bow in the form of “The Gadfly”, with its famous ‘Romance’ beloved of violinists everywhere. That this works just as compellingly on the viola is triumphantly displayed in the arrangement made by Vadim Borisovsky (founding violist of the Beethoven Quartet), one of the Five Pieces he recast from Shostakovich’s original.

Shostakovich’s 24 Piano Preludes have also proved irresistible to transcribers and here we have the seven brilliantly reworked by a pupil of Borisovsky, Yevgeny Strakhov.

Here is a video of violist Lawrence Power in Bowen’s viola concerto

Tags: Shostakovich, Lawrence Power, Sonata, Preludes

This is a collection of Paul Hindemith’s music for several different solo instruments, accompanied by the chamber orchestra of the Berlin Philharmonic. The instruments are piano, cello, violin, viola, viola d’amore, and organ. Also included are the sonata for solo violin, and the sonata for ten instruments.

The selection and performer details are as follows:

Hindemith:

• Kammermusik No. 1 Op. 24 No. 1 für 12 Solo-Instrumente

Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 2 Op. 36 No. 1 Klavierkonzert

Lars Vogt (piano)
Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 3 Op. 36 No. 2 Cellokonzert

Georg Faust (cello)
Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 4 Op. 36 No. 3 Violinkonzert

Kolja Blacher (violin)
Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 5 Op. 36 No. 4 Bratschenkonzert

Wolfram Christ (viola)
Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 6 Op. 46 No. 1 Konzert für Viola d’amore

Wolfram Christ (viola d’amore)
Berliner Philharmoniker, Claudio Abbado

• Kammermusik No. 7 Op. 46 No. 2 Konzert für Orgel

Wayne Marshall (organ)
Berliner Philharmoniker, Claudio Abbado

• Sonata for Solo Violin, Op. 11 No. 6

Première of the complete version
Christian Tetzlaff (violin)

• Sonata for 10 Instruments (fragment 1917)

Kornelia Brandkamp, Diemut Schneider, Ib Hausmann, Jochen Ubbelohde, Dag Jensen, Julia Fischer, Daniel Hope, Tatjana Masurenko, Alban Gerhardt & Rolf Jansen

http://en.wikipedia.org/wiki/Paul_Hindemith

Paul Hindemith (1895-1963) was a greatly misunderstood composer. The opinion during his lifetime was that his music is academic and lacking in humor but this is very far from the truth, as this set of his complete Kammermusik beautifully illustrates. The seven Kammermusik (Chamber Music) were written in the 1920’s and are the first works of Hindemith’s maturity, at a time when he had already established himself as one of the leading young composers in Germany.

Kammermusik No.1, written in 1921, reflects the composer’s earlier experience as a performer in dance bands and musical comedy orchestras; Nos.2-7 are all concertos, each for a different soloist and instrumentation, these have a marked resemblance to the Brandenburg Concertos of Bach.

Here is a video of Hindemith’s “Kleine Kammermusik Op. 24 movement 2” performed by the Berlin Counterpoint

And one more: P. Hindemith’s Kammermusik N. 5 first movement, with S. Braconi, viola, and W. Sawallich, conductor

Tags: Paul Hindemith, Kammermusik, Berlin Philharmonic, Abbado

The 2010 New Year’s Eve concert, from Berlin, featured two very prominent stars: Elina Garanca, mezzo soprano, and conductor Gustavo Dudamel.

Recorded live, this gala performance presents a selection of arias and orchestral works that include excerpts from one of Ms. Garanca’s most celebrated roles, Bizet’s Carmen, and Marguerite in Berlioz’s Damnation of Faust.

As well as providing world – class accompaniment, the Berlin Philharmonic makes an excellent contribution to the program with the overture to Berlioz’s thrilling “Roman Carnival” and excerpts from Manuel de Falla’s ballet, “The Three-Cornered Hat”.

The track list follows:

Berlioz:

• Le carnaval romain Overture, Op. 9

• D’amour l’ardente flamme (from La damnation de Faust)

Elina Garanca (mezzo soprano)
Bizet:

• Carmen: Prelude to Act I

• L’amour est un oiseau rebelle ‘Habanera’ (from Carmen)

Elina Garanca (mezzo soprano)

• Carmen: Entr’acte to Act III (Intermezzo)

• Près des remparts de Séville (Séguedille) (from Carmen)

Elina Garanca (mezzo soprano)

• Carmen: Entr’acte to Act IV (Aragonaise)

• Les tringles des sistres tintaient (from Carmen)

Elina Garanca (mezzo soprano)
Chapí:

• Al pensar en el dueno (from Las Hijas del Zebedeo)

Elina Garanca (mezzo soprano)
Falla:

• Three dances from El Sombrero de Tres Picos

• Danse Espagnole (from La Vida Breve)

Lara, Augustin:

• Granada

Elina Garanca (mezzo soprano)
Saint-Saëns:

• Bacchanale from Samson et Dalila

• Mon cœur s’ouvre à ta voix (from Samson et Dalila)

Elina Garanca (mezzo soprano)

Performed by the Berliner Philharmoniker, conducted by Gustavo Dudamel

Here is Bizet: Carmen, “L’amour est un oiseau rebelle” performed by Elīna Garanča and Gustavo Dudamel

Tags: New Year’s Eve Concert Gala 2010, Dudamel, Garanca, Berlin Philharmonic

The 50th volume of Masaaki Suzuki’s exploration of J.S. Bach’s cantatas features works composed by Bach in collaboration with the Leipzig poet Christian Friedrich Henrici.

I find the album title to be just wonderful: “Man singet mit Freuden” (One sings with Joy)

The cantatas generally make sparing use of the choir, but center on two arias, linked by one or two recitatives, and a final chorale. In addition, these works contain several examples of reuse of earlier instrumental movements as introductions: The opening Sinfonia of BWV 174, uses the first movement of his Third Brandenburg Concerto.

Bach, J S:

• Cantata BWV149 ‘Man singet mit Freuden vom Sieg’

• Cantata BWV145 ‘Ich lebe, mein Herze, zu deinem Ergötzen’

• Cantata BWV174 ‘Ich liebe den Höchsten von ganzem Gemüte’

• Cantata BWV49 ‘Ich geh und suche mit Verlangen’

Performed by Hana Blažíková (soprano), Robin Blaze (counter-tenor), Gerd Türk (tenor) & Peter Kooij (bass); and the Bach Collegium Japan, conducted by Masaaki Suzuki

Here is one of my great favorites, as performed by this group: J. S. Bach: “Herr, unser herrscher” ~ Bach Collegium Japan

Click HERE to watch and listen

Tags: J. S. Bach, Cantatas, Masaaki Suzuki

Robert Schumann’s three Sonatas for violin and piano were all composed between 1851 and 1853, and have been neglected, like other works from this period in the composer’s life.

Schumann:

• Violin Sonata No. 1 in A minor, Op. 105

• Violin Sonata No. 2 in D minor, Op. 121

• Violin Sonata No. 3 in A minor, WoO 27

Performed by Ulf Wallin (violin) & Roland Pöntinen (piano)

Ulf Wallin’s performance capabilities with Schumann were firmly established after his recently – released recording of the violin concerto, the Fantasy and the arrangement for violin of the cello concerto.

The CD tracks are as follows:

Robert Schumann: Violin Sonata No. 1 in A minor, Op. 105

I. Mit Leidenschaftlichem Ausdruck
II. Allegretto
III. Lebhaft

Robert Schumann: Violin Sonata No. 2 in D minor, Op. 121

I. Ziemlich langsam – Lebhaft
II. Sehr lebhaft
III. Leise, einfach
IV. Bewegt

Robert Schumann: Violin Sonata No. 3 in A minor, WoO 27

I. Ziemlich langsam
III. Intermezzo: Bewegt, doch nicht zu schnell
II. Scherzo
IV. Finale: Markiertes, ziemlich lebhaftes Tempo

Here are Ulf Wallin and Roland Pöntinen in Saint-Saens’ Triptyque op 136

Tags: Ulf Wallin (violin) & Roland Pöntinen (piano), Robert Schumann, violin sonatas

Enescu:

• Symphony No. 1 in E flat major, Op.13

Orchestre Philharmonique de Monte-Carlo, Lawrence Foster

• Symphony No. 2 in A major, Op.17

Orchestre Philharmonique de Monte-Carlo, Lawrence Foster

• Symphony No. 3, Op. 21

Chœur de Chambre Les Eléments & Orchestre National de Lyon,  Lawrence Foster

• Violin Sonata No. 3 in A minor, Op. 25 ‘dans le caractère populaire roumain’

Valery Sokolov & Svetlana Kosenko

George Enescu (1881-1955) was known primarily as one of the great virtuoso violinists of his day, although he was also a celebrated conductor and influential teacher of his instrument: Yehudi Menuhin, Arthur Grumiaux, Ivri Gitlis, and Christian Ferras were just a few of the great violin soloists of the latter half of the 20th century who passed through his classes in Paris.

Apart from the First Romanian Rhapsody, it is only recently that Enescu, the composer of a small but substantial catalogue of works, has become better known, and this set of his three completed symphonies and his best-known Violin Sonata, should certainly further enhance his reputation as a composer.

Here is a section of the first movement of George Enescu’s Symphony No 2

And to get a sense of Enescu as a violinist, here he is playing Bach – the Partita No.1 in B minor BWV 1002 for solo violin – 3. (George Enescu, 1948)

Finally, here is Saint Saens’ Introduction & Rondo Capriccioso in A minor Opus 28, as performed by the artists on this CD, Valeriy Sokolov, Violin accompanied on the piano by Svetlana Kosenko. And watch that violinst!!! I’ll be writing a lot more about him!

Tags: George Enescu, symphonies 1-3, violin sonata

• Recorded at the “Haus für Mozart” during the Salzburg Festival 2006-09

This 6 – DVD Box Set brings together all three Da Ponte Operas: Così fan tutte ∙ Don Giovanni ∙ Le nozze di Figaro live from the Salzburg Festivals 2006 – 2009 with an extraordinary cast that includes:

Anna Netrebko and Ildebrando D’Arcangelo ∙ Patricia Petibon and Bo Skovhus ∙ Christopher Maltman and Erwin Schrott.

The Wiener Philharmoniker are conducted by Adam Fischer, Bertrand de Billy, Nikolaus Harnoncourt.

Mozart:

• Così fan tutte, K588

Miah Persson (Fiordiligi), Isabel Leonard (Dorabella), Topi Lehtipuu (Ferrando), Florian Boesch (Guglielmo), Bo Skovhus (Don Alfonso), Patricia Petibon (Despina)
Adam Fischer, conducting

• Don Giovanni, K527

Christopher Maltman (Don Giovanni), Erwin Schrott (Leporello), Annette Dasch (Donna Anna), Matthew Polenzani (Don Ottavio), Dorothea Röschmann (Donna Elvira), Ekaterina Siurina (Zerlina), Anatoly Kocherga (Il Commendatore), Alex Esposito (Masetto)
Bertrand de Billy, conductor

• Le nozze di Figaro, K492

Ildebrando D’Arcangelo (Figaro), Anna Netrebko (Susanna), Bo Skovhus (Count), Dorothea Röschmann (Countess), Christine Schäfer (Cherubino), Marie McLaughlin (Marcellina), Franz-Josef Selig (Bartolo), Patrick Henckens (Basilio), Oliver Ringelhahn (Curzio), Florian Boesch (Antonio), Eva Liebau (Barbarina)

Nikolaus Harnoncourt, conductor

Three different conductors are seen directing the Wiener Philharmoniker, with Claus Guth (staging)

Director Claus Guth’s  productions of the Mozart trilogy consolidates Guth’s international reputation as one of the most sought-after stage directors of our time. Among his other major successes are “Der fliegende Holländer” in Bayreuth, and “Luisa Miller” at the Bavarian State Opera.

Here is a video of Mozart’s Così fan tutte. Hosted in the intimate surroundings of the Haus für Mozart, with a dynamic cast and the Vienna Philharmonic Orchestra under Adam Fischer

And here brief sections from Wolfgang A. Mozart’s “Don Giovanni”

Tags: Mozart, Operas. Don Giovanni, Cosi fan Tutte, Nozze di Figaro

Mussorgsky:

• Pictures at an Exhibition (piano version)

Prokofiev:

• Piano Sonata No. 7 in B flat major, Op. 83

• Piano Concerto No. 1 in D flat major, Op. 10

With the Prague Symphony Orchestra, conducted by Karel Ancerl

Performed by Sviatoslav Richter (piano)

What a terrific artist this was! There are not too many recordings, and most are from live performances, because this man did not like recording studios. As a musician, he was second to none…

The specific selections are as follows:

Mussorgsky
• Gnomus
• Il Vecchio Castello
• Tuileries
• Bydlo
• Ballet Of The Unhatched Chicks
• Two Polish Jews
• Limoges. Le Marche
• Catacombae
• The Hut Of Fowls Legs
• The Heroes Gate At Kiev

Prokofiev Sonata #7, OP.83

1. Allegro Inquieto
2. Andante Caloroso
3. Precipitato

Prokofiev Concerto #1, Op.10:

1. Allegro Brioso
2. Andante Assai
3. Allegro Scherzando

Here is Sviatoslav Richter playing Prokofiev’s Sonata No. 7

And now here’s Richter in Prokofiev’s piano Concerto No. 1

Tags: Sviatoslav Richter, Prokofiev, Mussorgsky

On Thursday, January 25, 2012, I attended a wonderful rehearsal of the San Francisco Symphony Orchestra with Mr. Pinchas Zukerman in three roles:

o Violin soloist

o Viola soloist

o Orchestra conductor

This rehearsal showed me again that Mr. Z is still one of the finest musicians around, and from reading the program notes he leads one heck of an active life in bringing music to the millions in these three roles.

The rehearsal began with Mozart’s Adagio in E-Major for violin and Orchestra K. 261, followed by the Rondo in C-Major K. 373. Right from the first 3 notes, I marveled at the amazing sound that Mr. Z was able to deliver from his fine violin. Totally amazing sound, and terrific mozartean phrasing.

Mr. Zukerman left briefly to go and get his viola to perform the next work on this program: the Trauermusik for viola and strings by Paul Hindemith. The title means music of sorrow; and Zukerman showed us his rich, dark, from what I believe is a Guarneri – made viola…

Then followed the violin concerto #3 in G-Major, K. 216. This music was clearly locked for many years in Mr. Z’s fingers and muscles. Yet we heard a performance that was tasteful, charming, and fun.

Following an intermission, Mr. Zukerman was back in his 3rd role, and he conducted the SF symphony in the Symphony #40 by Mozart. He directed the players in a wonderful, sprightly tempo, with fine musical detail.

All in all this was a great enjoyable experience.

Here is Pinchas Zukerman playing the finale of the violin concerto by Max Bruch, with the Israel Philharmonic under Zubin Mehta (2006)

Tags: San Francisco rehearsal, Pinchas Zukerman, Mozart, Hindemith

This composition for violin, viola, and orchestra is one of Mozart’s most moving and most famous. From the perspective of recordings, there is none more well known than the performance by Yitzhak Perlman and Pinchas Zukerman done in 1990. The dialog and interpretation by these two amazing artists is legendary.

I have chosen a more recent recording by Anne-Sophie Mutter. Her 2-CD album of Mozart violin concerti concludes with the Sinfonia Concertante as the last work on CD-2.

As Mutter says in the CD liner notes, she plays with the London Philharmonic as a first among equals, and indeed, these are much more interactive interpretations than the standard offerings of a solo instrument concerto with the orchestra in a supporting role.

Mutter plays the slow passages of this work very beautifully, and the fast passages with energy and technical mastery.

The Sinfonia Concertante is especially brilliant, and the pairing of Ms. Mutter with Yuri Bashmet is inspired. It is worth buying this 2-CD set just for that recording! This rendition of the Sinfonia Concertante is such that one ought to listen actively and thus enjoy 100% of the performance.

Here is the concertmaster of the New York Philharmonic, Glenn Dicterow, talking about this masterpiece

Here is Anne-Sophie Mutter playing Mozart’s Violin Concertos and the Sinfonia Concertante with the excellent playing of Yuri Bashmet

Here is a wonderful video of Ms. Mutter, at the TV show “Harald Schmidt Show” from Germany; It is like the Lederman show in the US. Even if you don’t understand the German, she plays some Mendelssohn at about 11:20 with the show’s host, and that’s worth seeing and hearing

Tags: Mozart, Sinfonia Concertante K. 364, Bashmet, Anne-Sophie Mutter

The greatest opera stars in the world – together in one 2-CD set.

This is a unique collection of all the great genuine opera stars appearing on the world’s stages today; a galaxy of great names performing opera’s best-loved arias and classic melodies.

• Bellini:

Casta Diva (from Norma)
Cecilia Bartoli (mezzo)
Orchestra La Scintilla, Adam Fischer

• Bizet:

La fleur que tu m’avais jetée (from Carmen)
Plácido Domingo (tenor)
London Philharmonic Orchestra, Georg Solti

• Capua:

O sole mio
José Carreras (tenor)
English Chamber Orchestra, Edoardo Muller

• Catalani:

Ebben? Ne andrò lontana (from La Wally)
Angela Gheorghiu (soprano)
Orchestra del Teatro Regio di Torino, John Mauceri

• Charpentier, G:

Depuis le jour (from Louise)
Nicole Cabell (soprano)
London Philharmonic Orchestra, Andrew Davis

• Donizetti:

Una furtiva lagrima (from L’elisir d’amore)
Juan Diego Flórez (tenor)
Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Frizza
Quanto è bella, quanto è cara! (from L’Elisir d’amore)
Roberto Alagna (tenor)
Orchestre de l’Opera National de Lyon, Evelino Pidò

• Dvorak:

Mesícku na nebi hlubokém ‘Song to the Moon’ (from Rusalka)
Renée Fleming (soprano)
London Symphony Orches, Georg Solti

• Glinka:

Vdali ot milogo (from Ruslan and Lyudmila)
Anna Netrebko (soprano)
Kirov Orchestra & Chorus, Valery Gergiev

• Handel:

Lascia la spina (from Il Trionfo del Tempo e del Disinganno)
Cecilia Bartoli (mezzo)
Les Musiciens du Louvre, Marc Minkowski
Semele: Endless Pleasure
Danielle de Niese (soprano)
Les Arts Florissants, William Christie

• Lara, Augustin:

Granada
Juan Diego Flórez (tenor)
Fort Worth Symphony Orchestra, Miguel Harth-Bedoya

• Lehár:

Dein ist mein ganzes Herz (from Das Land des Lächelns)
Plácido Domingo (tenor)
Orchestra del Teatro dell’Opera di Roma & Orchestra del Maggio Musicale Fiorentino, Zubin Mehta

• Mozart:

Deh! vieni alla finestra (from Don Giovanni)
Bryn Terfel (bass-baritone)
London Philharmonic Orchestra, Georg Solti
Non piu andrai, farfallone amoroso (from Le Nozze di Figaro)
Erwin Schrott (bass-baritone)
Orquestra de la Comunitat Valencian, Riccardo Frizza
Porgi amor (from Le nozze di Figaro)
Kiri Te Kanawa (soprano)
London Philharmonic Orchestr, Georg Solti

• Puccini:

Che gelida manina (from La Bohème)
Jonas Kaufmann (tenor)
Prague Philharmonic Orchestra, Marco Armiliato
Firenze è come un albero fiorito (from Gianni Schicchi)
Roberto Alagna (tenor)
Orchestra del Maggio Musicale Fiorentino, Bruno Bartoletti
Addio, fiorito asil (from Madama Butterfly)
Joseph Calleja (tenor)
Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Chailly
O mio babbino caro (from Gianni Schicchi)
Renée Fleming (soprano)
London Philharmonic Orchestra, Charles Mackerras
Vissi d’arte (from Tosca)
Montserrat Caballé (soprano)
Orchestra of the Royal Opera House, Covent Garden, Colin Davis
Signore, ascolta! (from Turandot)
Montserrat Caballé (soprano)
London Philharmonic Orchestra, Zubin Mehta
Quando me’n vo (from La Bohème)
Nicole Cabell (soprano)
London Philharmonic Orchestra, Andrew Davis
E lucevan le stelle (from Tosca)
José Carreras (tenor)
Orchestra of the Royal Opera House, Covent Garden, Colin Davis

• Saint-Saëns:

Mon cœur s’ouvre à ta voix (from Samson et Dalila)
Olga Borodina (mezzo)
Orchestra of the Welsh National Oper, Carlo Rizzi

• Schönberg:

Stars (from Les Misérables)
Bryn Terfel (bass-baritone)
Orchestra of the Welsh National Opera, Paul Gemignani

• Strauss, J, II:

Nun’s Chorus from Casanova
Kiri Te Kanawa (soprano)
The Mormon Tabernacle Choir, Utah Symphony, Julius Rudel

• Verdi:

La donna è mobile (from Rigoletto)
Joseph Calleja (tenor)
Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Chailly
Pace, pace mio Dio! (from La forza del destino)
Angela Gheorghiu (soprano)
Orchestra Sinfonica di Milano Giuseppe Verd, Riccardo Chailly

• Wagner:

Morgenlich leuchtend im rosigen Schein ‘Prize Song’ (from Die Meistersinger von Nürnberg)
Jonas Kaufmann (tenor)
Prague Philharmonic Orchestra, Marco Armiliato
________________________________________

CD 1 (“The Divos”)

• This CD features celebrated performances from Roberto Alagna, Juan Diego Flórez, Jonas Kaufmann, Plácido Domingo, Bryn Terfel, José Carreras, Josef Calleja and Erwin Schrott

CD 2 (“The Divas”)

• This CDfeatures outstanding recordings by Cecilia Bartoli, Renée Fleming, Anna Netrebko, Angela Gheorghiu, Montserrat Caballé, Nicole Cabell, Olga Borodina, and Kiri te Kanawa
A fabulous showcase of today’s top vocal talent

Here is the Hallelujah Chorus from Handel’s Messaiah, sung by Andrea Bocelli; to hear it, please click HERE

Tags: Divas, Divos, Netrebko, Carmen, Terfel, Renee Fleminf, Kiri te Kanawa, Jonas Kaufmann

• Beethoven: Rondos & Bagatelles

This recording represents the debut CD of Fortepianist Natalie Valentin. The instrument used in this recording was built in Germany in the late 18th century and has been restored by Christopher Clarke, a renowned specialist in period instruments.

The selections are:

Beethoven:

• Rondo in C major, Op. 51 No. 1

• Rondo in G major, Op. 51 No. 2

• Andante Favori in F, Wo057

• Bagatelles (7), Op. 33

• Rondo a capriccio in G major, Op. 129 ‘Rage over a lost penny’

• Rondo in B flat major, Anh. 6

Performed by Natalia Valentin (fortepiano) on a period keyboard instrument
This release is already receiving strong praise from the critics:

• ‘She can make the instrument really sing’ ……………..Early Music Review

• ‘A fine restored fortepiano….thrust and sparkle to the sound’ …………Gramophone

Here is a video by Natalie Valentin, performing the “Rondo Capriccioso Mi Majeur Opus 14” (1824) by Félix Mendelssohn

And now, here’s Natalie Valentin, in the “Bagatelle N°1 Opus 33” by L.v. Beethoven

Tags: Natalia Valentin, Beethoven, Rondos & Bagatelles

A masterpiece often features one key characteristic: Great simplicity; my sense is that this is very true of the Concerto for violin and Orchestra in D-Major by Ludwig van Beethoven. The challenge in performing this piece is to find a way to highlight the great beauty of the melodic line, otherwise the listener may hear mostly scales, without gaining a deeper understanding of the work.

Heifetz knew how to bring out this beauty. His performance of the concerto, as accompanied by the Boston Symphony, is still a primary example of how it is done…

The performance by Vadim Repin on this CD is “nice” from beginning to end, yet – for me – it did not create an emotional experience. While all the notes were all there, I simply was not moved by this music. I did not discover something new… such as some inner voice I had not known before. As such, I was disappointed.

The accompanying Kreutzer Sonata with Marta Argerich at the piano was quite different: Here the music was tense, and the performance by both artists quite dazzling. I liked the balance between the two instruments, and the “Tema con Variazioni” was really great.

Here are the tracks on the two discs:

Disc 1:

• 1. Violin Concerto in D, Op.61 – 1. Allegro ma non troppo

• 2. Violin Concerto in D, Op.61 – 2.Larghetto -

• 3. Violin Concerto in D, Op.61 – 3. Rondo (Allegro)

Disc 2:

• 1. Sonata for Violin and Piano No.9 in A, Op.47 – “Kreutzer” – 1. Adagio sostenuto – Presto

• 2. Sonata for Violin and Piano No.9 in A, Op.47 – “Kreutzer” – 2. Andante con variazioni

• 3. Sonata for Violin and Piano No.9 in A, Op.47 – “Kreutzer” – 3. Finale (Presto

Here is Mr. Repin performing the Beethoven Violin Concerto with Valery Gergiev conducting the Kirov Orchestra Saint Petersburg

Here’s a video of Vadim Repin, speaking about the Beethoven violin concerto

As a comparison, listen to violinist Anne-Sophie Mutter, violin, and Seiji Ozawa, conducting the Boston Symphony Orchestra in the Beethoven concerto; Date: Dec. 12th 1989–Place:Suntory Hall (Tokyo)

Tags: Beethoven, violin concerto, Vadim Repin, Anne-Sophie Mutter

Vasily Petrenko conducts the Royal Liverpool Philharmonic Orchestra in Rachmaninov’s third symphony. Also on this CD is his capriccio on gypsy themes, called “Caprice Bohémien”, and the well-known “Vocalise”.

Rachmaninov:

• Caprice Bohémien, Op. 12

• Vocalise, Op. 34 No. 14 – arrangement for orchestra

• Symphony No. 3 in A minor, Op. 44

Performed by the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko

Vasily Petrenko is the youngest ever Chief Conductor of the Royal Liverpool Philharmonic, and he will add the role of Chief Conductor of the Oslo Philharmonic beginning with the 2013/2014 season.

Since Petrenko took up the baton of the RLPO’s Principal Conductor in 2006, this partnership has flourished; and the orchestra is now achieving some terrific performances and recordings.

The press has had some very positive comments, as well:

“In the Third Symphony, which finds Rachmaninov wistfully recalling the Russia he left after the October Revolution, Petrenko and the RLPO also identify the zest, the orchestral lucidity and the rhythmic thrust that marked the composer’s later years. An exhilarating performance.”
…………………………The Telegraph, 5th January 2012

“Perhaps the most impressive feature of this new recording is the quicksilver dynamic fluidity of the orchestra – they are able to move from the boldest of fortissimos to the most tender of pianissimos in a heartbeat. There is an overwhelming sense that the musicians are moving as one with the same telepathic unity of a murmuring of starlings.”
………………………………..Classic FM Magazine, February 2012

“The RLPO play magnificently…There is surging energy here allied to lucidity of orchestration and rhythmic impetus, together with that infallible sense of instrumental timbre that Rachmaninov possessed. The lyrical elements…are conveyed with heartfelt affection without resorting to any heart-on-sleeve excess.”
…………………………………Gramophone Magazine, January 2012

Here is Vasily Petrenko and the RLPO in Rachmaninov’s Symphony No. 3

Tags: Rachmaninoff, Vasily Petrenko, Royal Liverpool Philharmonic Orchestra

• Sensual French Masterpieces

In this CD, Renée Fleming presents her first-ever recording of Ravel’s amazing work, “Shéhérazade”. Also included are two 20th – century French vocal masterpieces.

Complementing Shéhérazade is Olivier Messiaen’s collection of love songs to his young wife, the “Poèmes pour Mi” – a collection of astounding singing. The third composer is Henri Dutilleux with his dramatic “Le Temps l’horloge”. The album is completed by two earlier songs by Dutilleux, specially-orchestrated for this album and recorded in the presence of the composer.

CD tracks are:

Dutilleux:

• Le Temps l’horloge

Messiaen:

• Poèmes pour Mi, books 1 & 2 (complete)

Ravel:

• Shéhérazade

Performed by Renée Fleming (soprano), with the Orchestre Philharmonique de Radio France, Alan Gilbert conducting

The Los Angeles Times wrote:

“In Shéhérazade , she revealed how marvelously her voice is maturing . . . Fleming seemed to lose both pretense and herself in Ravel’s erotic never-never land”

Here is a video of the Renée Fleming’s next CD, which will be released on February 13, 2012, featuring the sensual 20th century masterpieces by French composers Maurice Ravel, Henri Dutilleux, and Olivier Messiaen

Tags: Renee Fleming, Poemes, Maurice Ravel, Henri Dutilleux, Olivier Messiaen

Sviatoslav Richter was – in my view — one of the greatest Russian pianists of the twentieth century. He was born in the Ukraine, on March 20, 1915. The young Richter was essentially self-taught and developed his exceptional technique by playing whatever music he liked. By the age of eight he was playing opera scores, including the music of Richard Wagner. He had the ability to memorize any music at sight.

Richter grew up in Odessa, and Emil Gilels and David Oistrakh would later become Richter’s chamber-music partner. During these years he was a rehearsal pianist in Odessa. His debut as a soloist came on February 19, 1934. The program included the Chopin Ballade no. 4, Polonaise-fantasie, and E Major Scherzo, as well as a selection of Nocturnes, Etudes, and Preludes, all difficult pieces. The recital was a great success and Richter’s career as virtuoso was launched.

Richter’s first competition victory came in 1945. The jury was headed by Dmitri Shostakovich and included Emil Gilels. Richter took first prize. Shostakovich later wrote: “Richter is an extraordinary phenomenon. The enormity of his talent staggers and enraptures. All the phenomena of musical art are accessible to him.”

This CD features some of the great interpretations by  Sviatoslav Richter:

Bach, J S:

• Keyboard Concerto No. 3 in D major, BWV1054

live recording Teatro Regio, Parma, October 1993
Orchestra di Padova e del Veneto, Yuri Bashmet

• Keyboard Concerto No. 7 in G minor, BWV1058

live recording Teatro Regio, Parma, October 1993
Orchestra di Padova e del Veneto, Yuri Bashmet
Mozart:

• Piano Concerto No. 25 in C major, K503

live recording Teatro Regio, Parma, October 1993
Orchestra di Padova e del Veneto, Yuri Bashmet

• Piano Sonata No. 16 in C major, K545 ‘Facile’

with freely added accompaniment for a second piano by Grieg
with Elisabeth Leonskaja (piano)

• Fantasia in C minor, K475

with freely added accompaniment for a second piano by  Grieg
with Elisabeth Leonskaja (piano)

• Piano Sonata No. 15 in F major, K533/494

Schubert:

• String Quartet No. 14 in D minor, D810 ‘Death and the Maiden’

Borodin Quartet
Schumann:

• Piano Quintet in E flat major, Op. 44

Live recording with Borodin Quartet

Performed by Sviatoslav Richter, piano

He rarely went into a recording studio, so most of his recordings are live at concerts. Many of these recordings, particularly those from Soviet concerts, suffer from poor sound quality and excessive audience noise, but his playing had an electric quality that created attention wherever he performed.

Among Richter’s greatest recordings are his Schubert sonatas, Rachmaninov and Prokofiev concertos, Liszt concertos (these have the benefits of first-rate sound), and his Schumann music.

Here is Sviatoslav Richter playing “Pictures at an Exhibition” by Mussorgsky

Here is Sviatoslav Richter, performing Schubert’s Sonata in A major (1st movement), which was written when the composer was 22 years old. I was totally “blown away” by this marvelous performance

And here’s the conclusion of the Schubert first movement. Amazing playing!!!

Tags: Sviatoslav Richter, Schubert, Rachmaninoff, Bach, Mozart, Schumann

This audio CD will be released on January 24, 2012

Cheryl Barker first broke the hearts of audiences worldwide as Mimì in the imaginative production of La Bohème. In this CD titled “Puccini ≡ Passion” the excellent Australian soprano delivers some amazing performances in a series of Puccini’s heroines in favorite arias, accompanied by the State Orchestra of Victoria under the baton of Richard Bonynge.

If you love Giacomo Puccini, then this CD is for you! The selections are as follows:

Puccini:

• Se come voi piccina io fossi (from Le Villi)

• Addio, addio mio dolce amor! (from Edgar)

• In quelle trine morbide (from Manon Lescaut)

• Sola, perduta, abbandonata (from Manon Lescaut)

• Si, mi chiamano Mimi (from La Bohème)

• Quando me’n vo (from La Bohème)

• Donde lieta usci (from La Bohème)

• Vissi d’arte (from Tosca)

• Un bel di vedremo (from Madama Butterfly)

• Che tua madre dovrà prenderti in braccio (from Madama Butterfly)

• Con onor muore (from Madama Butterfly)

• Chi il bel sogno di Doretta (from La Rondine)

• Ore dolci e divine (from La Rondine)

• Senza mamma, o bimbo (from Suor Angelica)

• Tu che di gel sei cinta (from Turandot)

• E l’uccellino

• Sole e Amore

• O mio babbino caro (from Gianni Schicchi)

• Signore, ascolta! (from Turandot)

Performed by Cheryl Barker, soprano, and the State Orchestra of Victoria, conducted by Richard Bonynge

Opera expert Rodney Milnes comments in the CD booklet:

“Puccini famously liked to write about “little women”, but he gave them “big” music, which is one thing that makes Cheryl Barker so ideal an interpreter of his soprano roles … her lyric soprano, with an indefinably sweet vibrancy built in to the tone, adds immeasurably to her appeal. With that vibrancy comes a sense of vulnerability, which helps her bring the characters alive in both vocal and dramatic terms … This most welcome disc allows her to present an overview of Puccini’s women from the very beginning.”

Ms. Barker ends with two little known treasures, the folksong-like ‘E l’uccellino’, and ‘Sole e amore’, an 1888 song whose melody Puccini later re-used in La Bohème. And conductor Richard Bonynge brings excellent fun and sparkle to Puccini’s masterful orchestral sounds.

Here is a video of Cheryl Barker, in Madama Butterfly: Un bel di, vedremo

And finally, here are Cheryl Barker and David Hobson in the final duet and heartbreaking finale of Puccini’s La Bohème

Tags: Cheryl Barker, Giacomo Puccini, Passion

• Traditional and New Brazilian Music

Jobim:

• A Felicidade

• Insensatez

Nazareth:

• Apanhei-te Cavaquinho (I have grabbed you, cavaquinho!)

Oser:

• Chorando em Vienna

• Offline

Sò Isso

Publig:

• Jazzanova

• Brazilian Daydream

• Lagrimas de Rendeira

• Toskana (Crete)

• Hang Gliding

• Meu Cavalho Bem Rapido

• Nos Dois Quase no Rio

• Voçê en Eu

Rosa, N:

• Último desejo

Performed by Michael Publig (piano), Stefan Oser (guitar) & Edison Tadeau (percussion)

The listener to this music can be delighted equally in classical Bossa Novas, traditional Samba cançoes, Choros influenced by Chopin, and more recent jazz themes. Definitely an enjoyable CD…

Here is a video with some new Brazilian music

Tags: Brasiliade, traditional and New Brazilian Music

I have very high regard for Mikhail Pletnev as both a pianist and as a conductor. I have found him to be a sensitive musician, intent on stressing the fine details of each music performance in which he participates.

On this recording we get two jewels: the first symphony, a great favorite of mine, and also the 3rd. There is something wonderfully peaceful about Beethoven’s first published symphony. In my view, even in this first work he ventures beyond the Haydn tradition. And I just love the second movement of this work!

The Third symphony basically created a ‘revolution’ of sorts for all music that followed. All symphonic work since then was in some form influenced by the contributions in musical ideas, and musical thought development as expressed by the Eroica symphony

Selections on this CD are:

Beethoven:

• Symphony No. 1 in C major, Op. 21

• Symphony No. 3 in E flat major, Op. 55 ‘Eroica’

Performed by the Russian National Orchestra, conducted by Mikhail Pletnev

This audio CD will be issued on January 24, 2012

Listen now to what it takes to prepare a performance of Beethoven symphonies. While some of Pletnev’s remarks are in Russian, wait for the music to emerge:

The Making of Beethoven’s Nine Symphonies in Moscow

And now Pletnev rehearses the Beethoven 9th

And here’s one more rehearsal

Tags: Pletnev, Beethoven, Symphonies, rehearsal

Mompou:

• Preludi

• Cançon y Danzas

Performed by Alicia de Larrocha (piano)

I did not know the music of Federico Mompou until I heard it performed by pianist Stephen Hough. And something in this music attracted me: Perhaps it was its simplicity; or the fact that it conveyed strong emotion, whether joyous or sad.

Federico Mompou was treasured by fellow composers, beloved by many pianists, and in many ways he was more a poet than a composer of music. He was a Catalan man who quietly lived through the region’s turbulent 20th century, dying in Barcelona in 1987.

In Mompou’s music, the notes themselves often come and go without fuss, leaving few traces behind, and in that sense his music is along the lines of Fauré and Satie; Although they’re not rhythmically complex, making these songs and dances sing and dance is harder than it might seem.

Pianist Alicia de Larrocha was at a distinct advantage, knowing the retiring composer as well as she did, and having the whole of Spanish piano music in her experience base. This is a late recording of hers, filled with light, simplicity, and warmth.

Here are some comments by Gramophone magazine:

“As one who knew Mompou well and was the dedicatee of some of his pieces (including the Prelude No.11 which was written as a wedding present for her in 1949), Alicia de Larrocha is in an almost unique position as an interpreter of his music, of which she again shows herself here a splendid champion… Larrocha’s performances and the warm, natural recorded piano sounds are both in the highest class.”
……………………………………………..Gramophone Magazine, November 1994

Here is Stephen Hough playing Federico Mompou’s “Jeunes filles au jardin” as an encore following a performance of Rachmaninov’s Rhapsody on a Theme by Paganini with the Berlin Philharmonic Orchestra under Sir Simon Rattle at the 2007 Waldbühne concert

And here is Alicia de Larrocha, who gave a wonderful joint recital with singer Montserrat Caballe in an all Federico Mompou program in Granada, on 20 June 1988. Here are several of the solo piano works de Larrocha played.

Impresiones íntimas:

• 1. “Planys”

• 2. “Pájaro triste”

• 3. “La barca”

• 4. “Secreto”

• 5. “Gitano”

And here are 9 more miniatures from this master of simplicity. This set is Mompou’s very first published work, played here in de Larrocha’s exquisite hands

Tags: Alicia de Larrocha, Federico Mompou, Cançons i danzas

The three string quartets on this album have been recorded many times; but a performance by the well-known Emerson Quartet surely will get the attention of music lovers.
The music is that of a mature Mozart, his quartets numbers 21, 22, and 23 were composed toward the end of his life, when his total life experience and his technical capabilities were at their utmost maturity.

The “Prussian” designation originated from the person who commissioned these works, namely King Friedrich Wilhelm II of Germany, who employed a top cellist at court and wanted quartets that would show off his abilities. Mozart complied with a group of works that feature a very prominent Cello part to achieve the sounds and textures characteristic of the music of the last few years of Mozart’s life.

The Emerson Quartet gives an excellent, sensitive performance in which the effects of this feature on the overall texture are quite subtly conveyed. The tempos are typically rapid, and the group emphasizes the emotional intensity of this music. It’s a very exciting performance, which is really world-class.

Tracks on this CD are:

Mozart: String Quartet No. 21 in D major (“Prussian 1″), K. 575
1) Allegretto

2) Andante
3) Menuetto. Allegretto – Trio
4) Allegretto

Mozart: String Quartet No. 22 in B flat major (“Prussian 2″), K. 589

1) Allegro

2) Larghetto

3) Menuetto. Moderato – Trio

4) Allegro assai [4:00]

Mozart: String Quartet No. 23 in F major (“Prussian 3″), K. 590

1) Allegro moderato

2) Andante

3) Menuetto. Allegretto – Trio

4) Allegro

Here are members of the Emerson String Quartet, talking and playing the Prussian quartets of Mozart (enjoy!)

Tags: Mozart, Prussian Quartets, Emerson String Quartet

This recording documents a terrific concert by Mr. Volodos, with music by Scriabin, Ravel, Schumann, and Liszt

This is a 2-CD album, released in March, 2011. The venue is the great hall of friends of music in Vienna, Austria. (I’ve been there a few times many years ago, and I’d like to be back one more time, some day, soon…)

In the music by Scriabin, especially the wonderful Prelude, Op. 37/1, and the encore (Feuillet d’ Album, Op. 45/1), Mr. Volodos plays with the most amazing expression. His Liszt features the stunning power for which Volodos is known. And with Schumann he is always comfortable, giving us a lyrical interpretation of the “Waldszenen” that is thoroughly in keeping with the spirit of a composer who was as competent writing for the human voice as for the piano. I liked his playing of Ravel, as well

Here are 23 minutes from this concert in Vienna

And here is a video of Sergei Rachmaninov’s Piano Concerto No.2 in C minor, op.18 with Arcadi Volodos, and Riccardo Chailly conducting the Royal Concertgebouw Orchestra

Tags: Arcadi Volodos, concert in Vienna, Ravel, Liszt, Schumann, Scriabin

Over the past few days I have listened and studied the Concerto #1 for Violin and orchestra by Dmitri Shostakovich.

Like many compositions written after 1900 or so, this music requires study and repeated listening if one expects to discover its special moments. The work was dedicated to the Russian violinist David Oistrakh, who helped the composer with a number of revisions. The structure of the concerto is as follows:

1. Nocturne: Moderato – Slow, thoughtful, often sad and contemplative
2. Scherzo: Allegro – A sparkling dance
3. Passacaglia: Andante – Again slower tempo and reflective, followed by a long cadenza
4. Burlesque: Allegro con brio – Presto

The more I listen to this music the more I like it; in some areas it has a distinct Jewish flavor. The composer was known for being intrigued by the ability of Jewish music to feature great Joy, and then move to express great sorrow.

Hilary Hahn plays this music beautifully, passionately, and with great commitment. Her virtuosity is always phenomenal. Her expressiveness is excellent, and she shows astounding capability to pull off the amazing technical difficulties of the second and final movements.

An unexpected treasure of this DVD is the Dvorak Eighth symphony. While Dvorak’s 9th is so well known, the 8th is also very beautiful and filled with glowing, idiomatic, strikingly dramatic and thoroughly musical inventiveness. Mariss Jansons leads the Berlin Philharmonic in a truly delightful performance.

DVD Release Date: March 29, 2011

Here is Hilary Hahn in the Shostakovich Violin Concerto #1

Tags: Hilary Hahn, Shostakovich, Violin concerto,

My intent today is to share with you, my readers, the music that Ludwig van Beethoven composed late in his life after he recovered from a serious illness.

As part of his string quartet #15, Beethoven devoted the third movement of this string quartet to a “Holy song of gratitude, offered to the Devine, in the Lydian mode”. I found this to be, as expected, very profound music…

There are no very recent recordings of Beethoven’s Quartet #15 that I could find. (Feel free to point me to some, via the Comments area below). I did locate, however, an interesting recording by the Emerson Quartet, with individual movements from many of Beethoven’s quartets. These span the “Early period”, and from the “middle period”, as well as from the very end of Beethoven’s life.

These compositions might be of interest to you if you wish to study the differences of sound content, emotional message and other aspects of Beethoven’s music as time moved forward from his young years in the early 1800’s, to his death in 1827. The Song of Gratitude is on track 7.

The CD tracks are as follows:

1. String Quartet No.4 in C minor, Op.18 No.4 – 1. Allegro ma non tanto

2. String Quartet No.1 in F, Op.18 No.1 – 2. Adagio affettuoso ed appassionato

3. String Quartet No.5 in A, Op.18 No.5 – 2. Menuetto

4. String Quartet No.9 in C, Op.59 No.3 – “Rasumovsky No. 3″ – 4. Allegro molto

5. String Quartet No.10 in E flat, Op.74 – “Harp” – 1. Poco adagio – Allegro

6. String Quartet No.11 in F minor, Op.95 – “Serioso” – 1. Allegro con brio

7. String Quartet No.15 in A minor, Op.132 – 3. Canzona di ringraziamento offerta alla divinità da un guarito, in modo lidico (Molto adagio) – Sentendo nuova forza (Andante)

8. String Quartet No.13 in B flat, Op.130 – 2. Presto

9. String Quartet No.13 in B flat, Op.130 – 4. Alla danza tedesca (Allegro assai)

10. String Quartet No.13 in B flat, Op.130 – 5. Cavatina ( Adagio molto espressivo)

11. String Quartet No.16 in F, Op.135 – 4. Der schwer gefaßte Entschluß (Grave – Allegro – Grave ma non troppo tratto – Allegro)

Here is the music from the third movement of the Ludwig van Beethoven’s fifteenth string quartet in A minor. The title is:

“Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart.” (“Holy song of gratitude, offered to the Devine, in the Lydian mode”)
The performance is by the Yale String quartet

After this song of thanksgiving, the following two movements are very happy, as Beethoven expresses his good feeling upon recovery:
First there is “Alla marcia, assai vivace.”. Then the last movement is titled “Allegro appassionato, Presto.”

Tags: Beethoven, Quartet #15, Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart

This is an early Kleiber performance and with an unexpected repertoire of Carl Philip Emanuel Bach and Georg Philipp Telemann. It is a recording for music lovers, like me, who consider Carlos Kleiber to have been one of the planet’s truly phenomenal orchestra conductors.

Bach, C P E:

• Cello Concerto No. 2 in B flat major, Wq 171

Telemann:

• Suite in B flat major

Performed by the Hamburger Rundfunkorchester (Radio Orchestra of Hamburg), conducted by Carlos Kleiber

Here is Carlos Kleiber, conducting the Bavarian State Orchestra in Beethoven’s 7th symphony

And now I have for you Kleiber’s wonderful interpretation of the Symphony No. 4 in E minor, Op. 98 by Johannes Brahms

As an encore, here is Maestro Carlos Kleiber and the Wiener Philharmoniker in
A terrific performance of Johann Strauß’ waltz “An der schönen blauen Donau” (On the beautiful, blue Danube)

Tags: Carlos Kleiber, CPE Bach, Telemann

Performed by Quirine Viersen (cello)

The Internet is a source of all kinds of information regarding world-wide talent in music. And today’s subject is talented cellist Quirine Viersen, who will demonstrate her cello playing for you.

Ms. Viersen uses the most recent Bärenreiter edition of the Bach Cello Suites as the basis for her first recording of these Suites. She plays a Joseph Guarnerius Filius Andrea 1715 cello.

Dutch cellist Quirine Viersen was born in 1972, and she is an exciting new artist. With her powerful, intense and virtuoso playing, she impressed me with her special musicality.

Here is Ms. Viersen in the Cello concerto by Erich Wolfgang Korngold

And now we hear her perform one of the Bach solo Cello sonatas

Your comments are welcome in the space below

Tags: Quirine Viersen, Bach, Cello suites

• Anna Netrebko: Live at the Metropolitan Opera

This CD features recordings of performances by Anna Netrebko during the period 2002-2010

Bellini:

• O rendetemi la speme…Qui la voce sua soave…Vien, diletto (from I Puritani)

Recorded 6th January, 2007
Patrick Summers
Donizetti:

• La morale in tutto questo (from Don Pasquale)

Recorded 15th April 2006

Maurizio Benini

• Il dolce suono mi colpì di sua voce! … Spargi d’amaro pianto (from Lucia di Lammermoor)

Recorded 7th February 2009

Gounod:

• Va! je t’ai pardonné (from Roméo et Juliette)

• Dieu! Quel frisson court dans mes veines from Romeo and Juliette

Recorded 15th December 2007

Mozart:

• Vedrai, carino (from Don Giovanni)

Recorded 15th February 2003

Offenbach:

• C’est une chanson d’amour (from Les contes d’Hoffmann)

Recorded 19th December 2009

Prokofiev:

• Kak Solnca za goroy (from War & Peace)

Puccini:

• Donde lieta usci (from La Bohème)

• O soave fanciulla (from La Bohème)

Recorded 27th February 2010

Verdi:

• Ah più non ragiono (from Rigoletto)

Recorded 17th December 2005

Performed by Anna Netrebko (soprano), and the Metropolitan Opera Orchestra & Chorus

My absolute favorite video of Anna Netrebko is “Meine Lippen, sie küssen so heiß” (My lips, they kiss so hot) by Franz Lehar. You’ll see that Netrebko is an amazing entertainer, a singer with a sense of humor, who does not take herself too seriously. This is really charming!

Tags: Netrebko, Meine Lippen sie küssen so heiß, Franz Lehar