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Missa Inviolata
Dionysos Now, Franz Vitzthum (countertenor), Bernd Oliver Fröhlich (tenor), Jan Petryka (tenor), Julian Podger (tenor), Tim Scott Whiteley (baritone), Tore Tom Denys (tenor)
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The clarinet as prima donna: Concertos and Opera Extracts
Roeland Hendrikx (clarinet), Johan Favoreel (musicdirector)
Staatsorchester Rheinische Philharmonie, Michel Tilkin
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Dedications: Works for Clarinet & Orchestra - Finzi, Mozart, Bruch
Roeland Hendrikx (clarinet), Sander Geerts (viola)
London Philharmonic Orchestra, Martyn Brabbins
Hendrikx takes Mozart’s evergreen Concerto at a rather leisurely pace. This restrained approach works surprisingly well, particularly in the cadenza-like section of the Allegro. The London Philharmonic... —
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Pergolesi: Stabat Mater & Caldara: Maddalena Ai Piedi di Cristo
Amaryllis Dieltiens, Clint van der Linden, Capriola di Gioia, Bart Naessens
The voices of soprano Amaryllis Dieltiens and countertenor Clint van der Linde are a perfect mirror in that they blend smoothly and easily. The straight tone singing is just what this sort of... —
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Brahms’s Requiem is one of the more docile of its type, so interweaving its movements with Schumann’s Scenes from Childhood works rather well as a concept, creating a benign musical narrative... —
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Though Van de Velde sounds a touch too restrained in the Prélude, Choral et Fugue – it really needs to ring out more – there’s a lovely singing tone in the Prélude, fugue et variation, and the... —
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Tempos tend to be on the slower side, but the works don’t suffer for it – Roth leans into Bach’s gorgeous spread chords and juicy harmonies with atypical, yet inspired, rubato choices and tonal... —
