Another young pianist makes a splash with a well-structured and scintillatingly played program. Only 21, Tashkent native Abduraimov won the 2009 London International Piano Competition, and toured Australia earlier this year. If Europe is trying to wrest the piano wunderkind crown back from China, then Abduraimov is definitely the real thing. He takes on the titans in the very first track: Horowitz’s elaboration on Liszt’s piano reduction of Saint-Saëns’ Danse Macabre. With old-school aplomb Abduraimov produces sparklingly even scale passages, quick clean staccato and over-the-top rubato. Here and there I feel a sense of control being carefully maintained – Horowitz and Earl Wild made pieces like this sound effortless – but what control this young pianist has! Prokofiev’s Sixth, Seventh and Eighth Piano Sonatas were composed in the wake of WWII, and are often called the composer’s war trilogy. They not only form the peak of Prokofiev’s keyboard output, but one of the peaks of 20th-century piano music. Abduraimov toughens his touch in the first movement of the Sixth to conjure up a steely militarism that is frighteningly appropriate. In the pungent slow movement he maps out the dramatic landscape with care and sensitivity, while the Scherzo is suitably light-fingered….

From Ligeti to Sondheim, American choral music king Eric Whitacre chooses the CDs he can't live without.

Interesting historical fact: In 1825, Johann Schultz and the Gewandhaus Orchestra presented the very first complete cycle of the Beethoven symphonies, a tradition followed by Schultz’s Leipzig successors which have included luminaries such as Mendelssohn, Furtwängler and Masur. Thus, with this new cycle under maestro Riccardo Chailly on Decca, it is fair to say that these works are pretty much “in the blood”. In fact, to sum up this beautifully presented 5-CD set, it is a rather brilliant fusion of the old and the new. The traditional element is immediately evident in the sound. The Leipzig strings offer a rich, beefy timbre while the brass is bright and punchy, though never vulgar. All of this is captured in a state-of-the-art recording of tremendous depth. The new is represented in the playing style – strings eschewing unnecessary vibrato, delicate woodwind – but especially in the tempi. Chailly observes Beethoven’s markings to the letter so we have some very fast movements indeed. The beauty is that the orchestra is so fleet of foot that detail is seldom sacrificed in the interests of speed. These unmannered readings allow Beethoven to speak for himself in exceptional versions of the Second, Third, Eighth… Continue reading…

Polish soprano Aleksandra Kurzak is the real and dazzling deal. Her choice of repertoire for Gioia! may be on the conventional side, but if she invites comparison with the greats, she well and truly lives up to it, with performances whose technical brilliance is matched by stylish, sensitive artistry. The arias here represent some of the mainstays of Kurzak’s career – Violetta, Lucia, Susanna and so on – and her mastery of them is thrillingly apparent. Flawless coloratura and silvery top notes are underpinned by a timbre of surprising warmth and depth, and by a vivid and versatile vocal presence. She’s remarkably good at teenagers and coquettes, but a full-blooded and ferociously well-sung rendition of Violetta’s Act I aria proves they’re far from the limit of her talents, and as Musetta and Lauretta, she manages Puccini’s lyrical legatos as perfectly as any of the fireworks. Having aced all these repertoire favourites, Kurzak concludes with a rare treat from her native land: an aria from Moniuszko’s The Haunted Manor, sung with radiant beauty. Omer Meir Wellber’s leadership of the Orquestra de la Comunitat Valenciana is strong and dramatically astute, but the laurels here belong overwhelmingly to… Continue reading Get unlimited digital access…

Grosvenor finds plenty of poetry in the lyricism of Chopin, Liszt and Ravel.

This live recording of Beethoven’s sole opera Fidelio is from the 2010 Lucerne Festival, under the baton of Claudio Abbado. Together with the Mahler Chamber Orchestra/Lucerne Festival Orchestra the succeeds in contrasting dramatic impetus with lyrical subtlety throughout the performance. Few tenors are able to convey the conflicting suffering, near-dementia and inextinguishable hope in Florestan’s character, but Jonas Kaufmann produces a sound that is both heroic and nuanced. Meanwhile, Nina Stemme’s Leonore is rich and expressive, delivering a heartfelt aria but falling short of joyous brilliance in her duet with Florestan. Falk Struckmann sings a powerful Pizarro, perhaps lacking a bit of snarl at times but successfully portraying an insecure despot who is about to snap. The supporting roles are sung well, but not outstandingly so; they all lack a degree of dramatic involvement. Beethoven’s sublime chorus writing provides the Arnold Schoenberg Choir with plenty of opportunity to shine, especially in the affecting Prisoners’ Chorus. The only major weakness here is the spoken dialogue, which in some cases has been abbreviated into monologue, the content of which is dramatically incoherent and delivered unconvincingly by the principals. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber?…

A celebration of the English, Italian and German Baroque? Or a celebration of one of Decca’s most marketable sopranos? It would be lovely to say this album was both. But the beauty of this repertoire has been brushed aside to make room for an underwhelming diva showcase. Danielle de Niese’s breathy, pop-inflected delivery, lazy diction and apparent disregard for both text and context do this music scant justice. Ombra mai fu, Dido’s Lament and Sheep can safely graze all receive saccharine, underpowered treatment with a shockingly pinched upper register for such a young singer. The relentlessly slow-and-ethereal vibe of the album does de Niese no favours either, highlighting as it does her one-size-fits-all approach. Occasional coloratura passages liven up proceedings slightly, but are not stylishly handled. Her voice is not fundamentally unattractive – indeed, there’s a certain prettiness to it which, coupled with her lithe stage presence and certain genetic blessings, has gained her a large and devoted following – but her singing here fails to live up to the promise of the album’s title. The English Concert plays well, but with only marginally more vibrancy than its soloist. The only person to emerge triumphant… Continue reading Get unlimited digital access from…

American composer Eric Whitacre’s virtual choir has united singers from around the world. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

American violin virtuoso to head London’s iconic Academy of St Martin in the Fields. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Prince William and Kate Middleton announce music for today's big event.

Decca has announced it will release the official royal wedding album in a digital world-first. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Countertenor Andreas Scholl has discovered that returning to his roots has enriched not only his personal life, but his artistic endeavours too. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in