The reclusive Charles-Valentin Alkan (1813-1888) wrote almost exclusively for the piano. His fascinating music, which is finally becoming known and admired by a wider audience, is among the most individual and technically demanding of any in the Romantic era. His challenging Twelve Studies Op 35 and the titanic Symphony for Solo Piano (from Op 39) have previously been given outstanding recordings by the Australian pianist Stephanie McCallum. The series entitled Recueils de Chants (literally: Compilations of Songs) are rather different. In five books of six pieces each, composed between 1857 and 1872, these are pieces on a smaller scale, modeled to some extent on Mendelssohn’s Songs without words but displaying a broader expressive range. Some have evocative titles such as Chant de guerre and Esprit follets, while others are simply given tempo indications. Each book ends with a Barcarolle, where the quirky essence of the composer’s individuality is most evident. While these Chants do not require the sheer stamina of Alkan’s larger works, they do require a skillful and sympathetic pianist who can tease out the lyricism and bring point to the composer’s distinctive style. McCallum is across every aspect of this music, exploring the collection’s diversity with apparent ease –…

Just like buses, you wait for years and then all three operatic legends get honoured at once. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

As one of Verdi’s early works, (it was staged in 1846 just prior to Macbeth) Attila has not always been received particularly well. However, what we see in this DVD is a full blooded Italian opera with some thrilling music and effective dramatic highlights. If some of the music is familiar it may be that it has come to you through Charles Mackerras’ resourceful ballet score for The Lady and the Fool, where he drafted music from Verdi’s lesser known operas to great effect. There are some seven versions on CD, four on DVD; the one to beat appears to be from La Scala under Riccardo Muti, with Cheryl Studer and Samuel Ramey. Even though this production from the Mariinsky is excellent, La Scala’s production and soloists are superior. Abdrazakov’s Attila is very good, until compared to Ramey’s splendid savage. Markarova fields a fiery Odabella, the woman who (in this opera) kills Attila in the final scene, but Studer simply wipes the floor with her at La Scala. In the part of the knight, Foretso, both Skorokhodov in this performance and Kaludi Kaludov at La Scala acquit themselves well. Mariinsky’s Pope Leo (Addikeyev) is piously wet. The character of Attila…

Performances of Bartók’s Second Violin Concerto range from the romantic/rhapsodic (Shaham/ Boulez/BPO) to the gritty, abrasive and uncompromising (Mullova), with Mutter somewhere in- between. Thomas Zehetmair, a native of Salzburg, has been around for a long time but I wouldn’t have had him down as an arch exponent of the mighty Bartók Second Violin Concerto, one of the greatest concertos for any instrument of the twentieth century. Well, he is! There’s something excitingly kaleidoscopic and mercurial about this 1995 performance. His rhythms are nimble, his tone slender but full of coruscating folkloric colours. One thing I initially found disconcerting are his tempi: he takes 35’ over the work which makes it sound quite different; Shaham takes over 40’ which, I think, is closer to the norm. The Budapest Festival Orchestra, generally regarded for some years as Hungary’s premier ensemble, especially under Ivan Fischer, enhance the soloist and conductor in what amounts to a symphonic accompaniment wonderfully captured. The companion piece is Bartók’s First Violin Concerto, an early work sometimes dismissed as an expression of love-sickness over his inamorata, Stefi Geyer. It wasn’t discovered until after both the composer and Geyer had died, in 1956. It’s OK but very much a…

Bach’s keyboard concertos, despite their obscure provenance (all are thought to be arrangements of earlier instrumental concerti), stand tall as the earliest masterpieces of the genre, brimful of contrapuntal invention. As such they offer endless possibilities for imaginative interpreters, yet performances and recordings played on harpsichord are not as common as you might suppose in the era of historically-informed performance practice, and are well outnumbered by those on modern piano. To overcome the problem of balancing the harpsichord against the standard Baroque string ensemble, the current fashion is to play them one-to-a-part, as recorded here by London’s critically acclaimed Retrospect Ensemble with their inspired young leader Matthew Halls. He plays a superb instrument with a robust yet refined tone and inflects the solo part with illuminating details, crisp rhythmic articulation and clever yet tasteful ornamentation. The ensemble perform with a clean transparent sound and fine intonation but are a times a little restrained and polite – this certainly allows the soloist to be heard to good advantage but doesn’t always reach the ideal of “a first among equals” – the players seem reluctant make the bold dramatic gestures one hears from their leader. Their short-breathed phrasing and avoidance of expressive…

Inside the brilliant but often misunderstood Jacqueline du Pré; plus pianists Willems, Hough and Hewitt and our Aussie Festivals Guide. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Sydney Symphony Orchestra's potted Ring cycle is essential viewing for newbies and veterans alike.

True to its title, this film is a masterclass in storytelling.

Australian maestro receives first honorary doctorate at the grand old age of 82. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The iconic British theatre company begin their Australian tour with a Noel Coward classic. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A dose of La Traviata turns out to double the life expectancy of heart transplant mice. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Bartlett Sher’s production keeps South Pacific younger than springtime. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in