How gratifying it is to enjoy the fruits of this generation’s lively interest in the art song, and in particular, German lieder. Recently, Australian audiences have had the good fortune to soak up the superb artistry of Ian Bostridge and Florian Boesch, two of this era’s greatest singers. Nor should we forget that outstanding singing is only one side of the lieder equation. Splendid accompanists are also indispensable in consummating the marriage between text and music. Whilst current concert-hall performances of lieder undoubtedly bring huge musical rewards, they are obviously scaled to the performance space. With the piano often on full stick, singers are not afraid to calibrate their delivery accordingly. On the other hand, it is a pleasure to be reminded by Padmore and Bezuidenhout of lieder’s more intimate origins. The South African born fortepianist (who began his studies in Australia and is back here this year guest leading the Australian Brandenburg Orchestra) uses a sweet-toned instrument by Rosenberger from about 1820 that is the perfect complement to Padmore’s lyrical tenor. Together they explore the tentative beginnings of lieder through the works of Haydn and Mozart, amongst which… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Purcell’s Revenge is based on a live gig, and Concerto Caledonia again teams up with folk musicians.

This accomplished Valencian ensemble under Carles Magraner has amassed a fine discography since 1987 but has been over-shadowed by the prolific output of a certain Catalan group with a charismatic front man. A shame, but such is the whim of the market. The programme, evoking the key date of 1414, intersperses movements of the Requiem with laments. It could be a grim affair but works a dark charm thanks to inspired realisations and vivid performance. Vocal ensembles have that sensuous Iberian manner with ochre colouring and characterful soloists. Tenor Miguel Bernal is superb; his fervour bordering on the histrionic in the sequence Clangam, Filii and Agnus Dei. Hair-shirted purists might sniff at the degree of conjectural instrumental elaborations but non-specialist listeners will enjoy the variety of timbre within the prevailing style, with interesting use of an exaquier, a sort of small primitive harpsichord, and exquisite work on flute by David Antich. For the final three tracks the listener is jolted out of medieval Iberia with a brief jaunt across the Alps for Ir Tanezer und Spranezer, a literal dance of death, before being eased into the more familiar idiom of… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Thanks to its in-house recording system, the King’s College Choir is able to offer us a snapshot of its musical activities during the past academic year. As you would expect, the range of music in any season would be rather diverse, and so it is here. There is a central core of English fare: Tallis, Parsons, Parry and Vaughan Williams, but continental influences include Poulenc and Mendelssohn, whilst more recent music by Giles Swayne and Henryk Górecki is also included. Having listened to many recordings of this choir over the years, I was struck by the freshness and clarity of the sound that the current microphone placement delivers. This clarity, combined with the live nature of these performances, shows the choir (and its chapel’s famous acoustic) in a different light. Take, for example, Swayne’s Magnificat. A certain exuberance and spontaneity add to the choir’s customary technical precision. The result is a livelier and slightly less homogenous sound than some of the choir’s ‘studio’ recordings – this is no bad thing. Whether it be the intimacy of Poulenc’s Christmas motets, the intensity of Górecki’s Totus Tuus, the grandeur of… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

The acclaimed American mezzo-soprano will play Florence Foster Jenkins, the infamously bad singer, in a new film. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Beware opening doors to a dark soul within, says our critic of a Boulez-Bartók marriage. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Celebrated Australian conductor Patrick Thomas shares how the original YPA’s launched his 35-year international career. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Have yourself a merry little Christmas, and “Bah, humbug!” to Il Divo.

Harry Christophers discusses the act of creation. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Limelight’s Recording of the Year heads a bumper edition to take you into 2016. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The German baritone's epic journey has been as inexorable as Schubert's Winterreise itself.

John Williams’ score for the Sci-fi movie franchise has inspired some bold and bizarre reimaginings. We look at some of the best. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in