Naxos
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Francisco Mignone: Fantasias Brasileiras Nos. 1–4
Fabio Martino (piano), São Paulo Symphony Orchestra, Giancarlo Guerrero
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Carl Nielsen: The Symphonies
Recordings 1965-2022
The Royal Danish Orchestra, Michael Boder, Ruth Guldbæk (soprano), Niels Møller (tenor), John Kruse (clarinet), Royal Danish Orchestra, Thomas Søndergård, Alexander Vedernikov, Leonard Bernstein, Sir Simon Rattle, Paavo Berglund, Michael Schønwandt
Awards:
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Gramophone Magazine, Critics' Choice 2024
Purchase product
4 CDs
$76.00 -
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It plays here with a spontaneity and passionate abandon that does not compromise precision, and with sensitivity and refinement where that is required. The string players draw upon their ample... —
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Dvořák: String Quartet No. 2, Bagatelles & Rondo, B. 171
Ralph Evans, Efim Boico, Niklas Schmidt, Ryoko Morooka, Stepan Simonian, Fine Arts Quartet
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Franck: Le Chasseur maudit, Psyche & Les Eolides
Royal Scottish National Orchestra, Jean-Luc Tingaud
You won’t find a better version of Les Éolides than this one...Lightness of touch is Tingaud’s strong suit, and this confectionary tone poem of nearly Mendelssohnian delicacy results in a happy... —
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The orchestral textures are lightly and cleanly delineated, and the recorded sound has enough reverberation to give warmth without compromising clarity…in the Fourth Concerto, there’s a lovely... —
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...Lloyd-Jones [probes] beyond its obvious aspect as a display piece for the various sections of the orchestra. Indeed his performance makes me feel that the work may have been a kind of self-portrait... —
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The mysterious central Andante, recalling Roussel's early period, is utterly magical in Denève's hands...there is beautiful playing from the RSNO, especially in the opening of the final movement,... —
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Special offer. Rossini: Otello
Michael Spyres (tenor), Jessica Pratt (soprano), Ugo Guagliardo (bass), Giorgio Trucco (tenor), Geraldine Chauvet (mezzo-soprano) & Leonardo Cortellazzi (tenor)
Virtuosi Brunensis & Transylvania State Philharmonic Choir, Cluj, Antonino Fogliani
Pratt is every bit as fine as von Stade, the voice free, flexible and finely-schooled, her engagement with the role fairly complete, both in the high drama of Act 2 where the opera finally embraces... —
