Hyperion
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Monteverdi: Madrigals of Love and Loss
Thomas Walker (tenor), James Gilchrist (tenor), Katherine Watson (soprano) & Anna Dennis (soprano)
Arcangelo, Jonathan Cohen
These are not easy pieces, but the opening ballet swings along with panache, and there is some excellent tenor solo singing in the first section. —
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What I notice especially on the new disc is Boesch’s way with the words: there’s a special lightness – though never a levity – that helps keep his line unencumbered, allowing for an astonishing... —
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Goethe warmed to [Tomášek], declaring that his Mignon songs showed true understanding of his poetry…his delightful, often salonesque, piano writing is palpably enjoyed by Roger Vignoles, and... —
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Conductus, Vol. 2
Music & poetry from thirteenth-century France
John Potter (tenor), Christopher O'Gorman (tenor) & Rogers Covey-Crump (tenor)
spreading these different performances across the disc makes for a varied musical experience while leaving the opportunity for listeners who want to study more to compare the versions more directly. —
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The Yale Schola Cantorum comprises roughly 30 singers and a dozen instrumentalists, but they sound light and bright nonetheless. They make a fine impression in the opening Hodie Christus natus... —
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The ensemble’s sound is clean and ingenuous throughout: boyish sopranos and altos are balanced by fresh-voiced tenors and basses, intonation is nigh flawless, the recording limpid. Stephen Rice... —
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Garrick Ohlsson approaches both sonatas with a high sense of drama. This is big-boned pianism that rarely lacks immediacy or drive. —
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Few players of this music combine quite such clarity and articulation with shimmering sparkle and virtuosic flair: this is sophisticated pianist...You will be left either wanting to listen again,... —
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