Along with Wit's Naxos recording, this is one of the best versions of Messiaen's phantasmagoric Turangalîla-Symphonie available, and it's very different: swifter, more obviously virtuosic in concept, perhaps a touch less warm in consequence, and engineered with greater “in your face” immediacy. The playing of the Concertgebouw, always a wonderful Messiaen orchestra, is stunning throughout. Chailly revels in the music's weirdness. The Ondes Martinot, for example, is particularly well captured. It's interesting how earlier performances tended to minimize its presence, perhaps for fear that is would sound silly, which of course it does, redeemed by the composer's utter seriousness and obliviousness to anything that smacks of humor. In any case, it's not all noise and bluster. The Garden of Love's Sleep is gorgeous, hypnotic, but happily still flowing, while the three Turangalîla rhythmic studies have remarkable clarity. Jean-Yves Thibaudet plays the solo piano part magnificently, really as well as anyone else ever has.
There is certainly no shortage of recordings of these popular Bach violin works, but this one by the Dunedin Consort with violinist Cecilia Bernardini has many aspects to recommend it. At the top of the list must be the soloist's flair of Bernardini herself, playing a bright-eyed 1743 Camillus Camilli violin. In her playing you get the virtuoso energy of the contemporary Italian school without the hard edge, and there is a sense of play in her music-making that one senses Bach would have loved.
Like many German composers of his time, Johann Sebastian Bach also devoted himself to the French style with its characteristic dances and rhythmic ouvertures. His regular contact from an early age with French musicians and dance masters living in Germany made him very familiar and competent with the typical features of French music. Among the results of this interest are his orchestral ouvertures, of which BWV 1066, 1068 and 1069 with large scoring are presented in this recording.
Rewritten with enhanced regal bravado for the coronation of George II, Handel's 1727 opera of Richard the Lionheart is a rarely heard but rewarding enterprise. Goodwin conducts a fervent Basel Chamber Orchestra in this new scholarly version, fully exploiting the dramatic twists of the King's quest to reclaim his abducted fiancée, Constanza. Amid much nice character-building from the decent cast, Nuria Rial enjoys Constanza's luxuriant lines, while Lawrence Zazzo revels as the Lionheart. Riccardo's Act III revenge aria is truly ominous, furiously driven by Goodwin and some innovative brass writing. (The Times)
Born in Forlì (Italy) in 1951, Riccardo Zappa is widely recognized as the greatest Italian acoustic guitarist. For five consecutive years he was voted the best in the poll promoted by the famous monthly magazine "Guitar Club". After that, he was declared to be no longer eligible for nomination. His music is in fact quite unique in the whole Italian prog scene; not can many other comparisons be found outside Italy, except perhaps Mike Oldfield, for his long, acoustic-based instrumental compositions…
Stage and television director Werner Herzog, one of the most highly acclaimed German film makers of all time, joins forces with the great Italian conductor Riccardo Chailly to effect a masterful rendition of this rarely-performed opera involving spectacular scenes of alternating light and dark, pageantry and intimacy. The production is further complemented by the great Italian baritone Renato Bruson as Giacomo, the American soprano Susan Dunn as Giovanna and the outstanding tenor Vincenzo La Scola as the Dauphin. The magnificent Teatro Comunale di Bologna provides an intimate yet ornate setting for this production of Verdi's seventh opera, the story of the Maid of Orleans.