Science gets closer to the wonders of the past - Stradivarius and Guarnieri

This article roots from a completely different source than usual. It is not caused by a listening experience, yet rather a reading experience. The Dean of science journals, Nature, has in its issue from November 30th, a very interesting brief communication on the wood that Stradivarius and Guarneri del Gesu used to build their violins. It is the beginning of a salutary scientific look into the mysteries of some of the greatest creations of humankind. To give you a taste of this work let me quote the authors on the key aspects. They motivate their research as such: "Whether or not the great Italian violin-makers used wood that had been chemically processed in order to preserve it and enhance the instrument’s sound quality has long been a contentious issue1,2." Then, they go and briefly describe the methods they used: "Here we use nuclear magnetic resonance and infrared spectroscopy to analyze organic matter in wood taken from antique instruments made by Stradivari and Guarneri del Gesu." Their results are intriguing: "Our results indicate that the wood used by the masters could indeed have been chemically treated, a technique that may inspire an approach to violin making that is more chemistry-based." You can read the details and the actual data in the article.

For those of you that are not completely familiar with the subject of the paper I will try to give you a flavor of these exquisite instruments. Both violin makers families, as more than just one member was in this business, built their instruments in the second half of the seventeen and the first decades of the eighteen centuries. Both learned the art of violin making from Nicolo Amati yet, most importantly, both tried to create better instruments. And while they did that they created instruments with a very particular sound. At least for me the Guarneri is unsurpassed in the way it produces the high end of the spectrum. Not only is it full bodied and tonally perfect but is also sweet and almost form a different world. Here I definitely prefer it over Stradivari. At the middle of the spectrum Stradivari comes ahead. The amount of tone and its beauty are above any other instrument. It is rich and manages to bring out all the saps of the earth. Don't get me wrong, Guarneri is close and both are far away from any competition. It is just that here Stradivari reaches the absolute. At the lower end of the spectrum it is extremely difficult to set them apart and is just a matter of the hands they're in and your personal preferences. Sometimes I hear the Guarneri a little more "polished" and more "human" if you want. Nonetheless the Stradivari makes up in power and transparency. It is a tie as it is the whole "competition". It is an immense pleasure to listen to any of them as often as you have the chance.

Allow me to point to two cds that can illustrate best the amazing qualities of these violins. I picked one for each, both in the hands of favorite violinists: Nathan Milstein and Ruggiero Ricci. Nathan was playing on a Stradivari and in my view he is a perfect example of what can be made out of such a great instrument. His tone is sublime and his artistry makes the instrument live the most accomplished life. One of his great recordings is described in extenso here and you can hardly find a better illustration for the instrument (the quality of the recording is gorgeous).

Ricci on the other hand played a Guarneri and him too makes an almost perfect case for what this instrument can do. Below you have details on one of the reissues of some of his recordings in impeccable sound. It doesn't get any better than this. Give them a try and I am pretty sure one question that will pop out is: How could those guys build such wonders? I really hope that the research we are talking about here will go on and will give us some insights in an old and, obviously, extremely efficient technique, the geniuses of the men aside.

And because they form a special case I will also mention here the Alban Berg Quartet. One of the very special things about them is that all the instruments are Stradivari. The result is obvious on the spot as the tonal quality of the quartet is one of their landmarks. All over their recordings their artistry is helped hugely by their beautiful instruments. Clearly that's the case in their recording of Beethoven's String Quartets, one of the great victories of the recorded music.

Spectacular sound - The xrcd experience

What happens if you put together one of the most beautiful tones in violin playing history, great musicianship and exquisite sound? You get a CD that becomes the "show-off" piece of your collection, for your musical taste as well as your sound system. JVC does that with a new breed of compact disc: the XRCD. The initials stand for extended resolution CD and the audio quality is exquisite. The best part about these cds is that you can play them on any common CD-player. They do not require a special player (like SACDs or DVD-Audio for example) yet the listening experience is greatly improved and gets dangerously close to the fore-mentioned formats without any technological hassle on your part. I have to agree entirely with the guys at JVC when they say: "Obvious gains in clarity, transparency, dynamics and warmth of XRCD can be heard by all. XRCD allows the listener to hear what the producer and artist intended to hear the sound of the original master tape." All the improvement comes just from much better care and attention payed to the mastering and manufacturing process so the source sound gets truncated to the minimum. You can learn more about the proces here.

The first experience with a XRCD was one of their jazz releases (Patricia Barber, Companion, a generous gift from a friend) and one of the results of that listening experience was an itching curiosity about how a symphonic orchestra might sound like on that support. The occasion to fulfill that curiosity rose pretty soon, once I received my copy of the XR with Ruggiero Ricci. And I just don't have enough words to describe the excitement this cd produced. Ricci is one of my favorite violinists, mainly because of his gorgeous tone on that amazing Guarnieri violin of his. But never have I heard the full body and the divine soul of that violin like on the XRCD. It fills the ears with sound like an autumn vineyard fills your nostrils with all of Earth's aromas. Once you manage to get passed just a little the larger than life sound of the violin a lot of things strike you from all directions: the orchestra occupies a space a lot larger than you ever noticed before, all the instruments are clearly delineated and their personality is displayed entirely with a sonic detail impossible to reach for a regular CD. Did I mention the dynamic? or the air between the instruments or the transparency?

I will just mention the content of this XRCD: Bizet-Sarasate's version of the Carmen Fantaisie, Sarasate's Zigeunerweisen, and Saint-Saens' Havanaise and Introduction and Rondo Capriccioso. A great program which in the hands of Ricci is just pure gold, is made an absolute must by the impeccable technical support of the XRCD. For me it really became the "show-off" stone of my collection as it appeals in equal measure to every kind of listener and the rendition of the violin sound as well as the orchestra behind it makes the most convincing case for the new format. JVC's collection is growing monthly by new additions both classical and jazz so you might have enough options to choose from. I am very confident that you'll enjoy it very, very much.

Don Giovanni at Salzburg Festival

It's not often that things like this opera production happen. There are couple of reasons that make this an historical monument of the recorded music. First is that makes us witnesses to the efervescent period after the WWII. People that felt that are the executors of the testaments of the musical geniuses of the world dedicated their creative power entirely to bringing the great creations of humanity to life. Furthermore it's the video document of Wilhelm Furtwangler and his creative power couple of months before his death. Last but not least is the unique occasion of seeing together arguably the best generation of Mozart interpreters. And all in one of the first, certainly the best, video opera recordings.

As music is the main interest of this blog I will try to get to it right after I mention couple of things about the stage production itself. It is the best I've seen. The set design, the costumes, the lights are all put into place with exquisite detail and attention to the creation of the best environment for some of the greatest music ever composed. Every scene of the opera takes place in an inspiring set. Everything culminates in the scene of Don Giovanni's punishment where a nice, happy dinner place transforms into the gates of hell with flames and haunted souls that swallow the sinful Don.

The cast is as close to perfect as it could be. In the title role you have Cesare Siepi who has to be the greatest Don ever. I haven't heard Pinza in this role but what a character Siepi portrays and to what unbelievable level. He doesn't act, he just is Don Giovanni. You have to see to believe the level of self-confidence, his unthoutful escapades into the lifes of others. Served by an amazing vocal instrument, in beautiful shape, Siepi lives every heart beat of the Don. He creates with exquisite detail the most subtle nuances of his character experiences, from the rude and mean behavior towards his servant (Leporello) to the devious sweetness he calls Elvira's maid with ('Deh, vieni alla finestra') all the way to the fearful defiance of the Commendatore's statue, in his last scene. An unique performance hardly to be bettered by anyone in any era.

It is a difficult job to partner such a powerful Don, yet this production offers an excellent match in Otto Edelmann. Great voice, great actor and a perfect scenic presence, Otto Edelmann creates a very believable and likeable Leporello, proud of his master yet quite unsatisfied with his over the edge life, not so innocent yet not strong enough to escape, with a lot of humour, a very fine companion of Don Giovanni indeed. The other two male characters are also excellent with a plus for very nice stage performance for Walter Berry in the role of Masetto. Anton Dermota's Don Ottavio excels in nobility and fortunately enough his stage appearances do not involve excessive acting. But he sings heavenly and for me it's the most rewarding tenor part in all the Mozart operas I've heard so far. Walter Berry makes Masetto a key character of the opera, one you'll remember and you'll like throughout. A very compelling evidence for what will be a leading figure of German artists.

The ladies are as good. Elisabeth Grummer is a very convincing Donna Anna. Her pain and dispair in the face her father's tragic death and her relentless pursuit of an impossible peace are portryed with dignity in a very convincing manner. Lisa della Casa manages to draw a beautiful image of an elegant and sincere Donna Elvira who lives the drama of loving the Don. She sings heavenly and everything falls in place with such veridity. Finally, Erna Berger, recreates Zerlina, the country girl. Again the character comes to life so real, in flawless music and voice. Her duet with Don Giovanni is one of the highlights of the opera ('La ci darem la mano') and alongside Walter Berry's Masetto they create a most lovable couple.

Above all we recognize and bow with the deepest respect and admiration in the face of the creative genius of the greatest conductor of the last century, Wilhelm Furtwangler. He is the will and the driving force behind it all. He manages to build perfect sonic architecture with his lengedary sense of musical drama. He conducts the Vienna Philharmonic to heights of musical expresivity (and they respond, to their praise, admirably) and builds the sound stage for the soloists. Everything is so right (I hope by now you agree with me that speed cannot be a measure for good music), makes so much sense and the balance between the orchestra and the voices is kept perfectly. You can almost see his enlightning influence in every phrase, at every moment of the opera. Another remarkable achivement from the great man.

Last but not least I have to appreciate the technical achievement that took place with the production of this opera. For the year 1954 everything is great. The sound is an excellent mono, the colors are vivid, the stage lightning is captured to full effect, everything copes with the sense of an unique event. A sincere and well-deserved bravo to the whole technical team.

You owe to yourself to see this. I didn't see enough to say this is the greatest opera dvd ever, but it certainly is there in the Pantheon, both as production and music. And what music this is!!!!

Brendel's Schubert

Whe you walk, as I did the last couple of weeks, through the colossal pieces of the sonorous architecture reaching a cd like this is like entering a old house hidden in the belly of a huge city, with a beautiful garden unbelievably quite and close to nature. This was my feeling when I spent the time listening to it. Yet again I found myself enjoying so much the talent of Alfred Brendel and telling myself again that I have to get more of his music. Not the first on my list of favourite pianists he still has to dissapoint me. His Mozart is beautiful, his rendition of Beethoven Bagatelles is one of the best I know and now, his Schubert is in a class of its own.

The most amazing thing with Brandel is, for me, the amazing sensitivity he manages to express through music. Everything is heartfelt and human. His technique is exceptional and serves the expression to full extent. Schubert's music is one the best vectors for his musicality. Although I prefer Arrau's take on this music, I found Brendel to be a refreshing alternative. This cd is a nice glimpse into Brendel's view on Schubert. The main feature is the sonata D. 959. A beautiful version, very articulate, shining and radiating sincere and heartfelt music. Brendel takes a lighter approach compared to Arrau yet the whole scenery is there in beatifully crafted detail. It leaves no need for more and the audition leaves you with a beautiful feeling over the unbearable lightness of being. The other pieces on this cd are treated by the Austrian pianist with the same care and attention to detail. The Hungarian melody is a shocker. Such a small piece unfolds such a powerful drama that is hard to believe. In three minutes an entire destiny is pulsating to a painful climax and than abandons itself to peace. It's a little musical jewel and it's the only place I know of you can listen to it. Beautiful! The same qualities are manifest in the 16 German dances. Brendel manages to bring to light their individual character in a beautifully contoured performance.

The way Brendel plays Schubert give all the reasons for him being a living legend and dean of the contemporary pianists. For those who are not familiar with him or his approach to Schubert this is a good start. It is a most rewarding experience.

Giulini - The Chicago Recordings

In the history of music making there are quite a few examples of great partnerships. The partnership between Chicago Symphony and Carlo Maria Giulini is without a doubt one of them. Equally praised by the virtuoso enssemble and the conductor, it's a partnership most cheered by the listeners all over. Here you have probably the most "european" of the american orchestras, brilliant in tone and technique, and one of the podium greatest figures of the last century. Maybe not such a good friend of cameras and news reporters as his contemporary Karajan, Giulini's work forms some of the pillars of the Recorded Temple of Music. The rewarding booklet of this anniversary box makes a pretty good case about the special chemistry that formed instantly between the conductor and his orchestra. And the most rewarding thing is the responsiveness and the cohesion apparent throughout all recordings.

In this 4 CDs box one can find everything from Beethoven to Stravinsky. In a beautiful recorded sound, spacious and detailed, one can hear the trademark Giulini interpretations: beautifully shaped fluid architecture, with insightful details, perfect balance of tempos, razor sharp precision that allows the display of musical ideas in a whole that breathes humanity. I would like to highlight three of the recordings present on these cds: Berlioz's dramatic symphony Romeo and Juliette, Beethoven's 7th symphony and Brahms' 4th. I picked these because each of them displays a certain characteristic of Giulini's style.

In Berlioz's work he manages to recreate, through a unbelievably responsive and expressive Chicago orchestra, the whole emotional universe of the romantic drama. They manage to fully convey the tension that puts everything in motion, as well as to recreate heartbraking lyrical moments as the Love Scene (their winds have to be heard to be believed). The heavy twists of musical drama unfold with implaccable logic and with a sense of inevitability on the wings of superb orchestral playing. Beethoven's famous 7th symphony offers Giulini and Chicagoans the chance to proof that they are amongst the few that can do justice to this great music. Their conception and execution reaches true natural phenomena proportions. The clash between the two opposing forces, the wild liberator Dyonisos and the cerebral and insightful Apollo, takes place unrestrained with intoxicating rithms and powerful character. Again the playing of the Chicago orchestra is superb and the Beethovenian universe is recreated to a thrilling effect.

Last but not least you have Giulini's view on the music of Brahms. And what an experience that is! Listening to it you can say that Brahms had a special place in Giulini's soul. He takes the liberties allowed just to a very restrained circle of friends. Backed up by the same elegant and wonderful music body of Chicago he sails through the troubled waters of Brahms' masterpiece with such a confidence and with such a depth of understanding. They create sheer beauty in what might be the most impresive second part on disc. In the end you just know that you experienced a different level of music making and a completely different level of understading of Brahms' music.

Given that all the other pieces are as valuable (with a little extra for his Stravinsky) you cannot afford yourself at least not to hear these recordings. They still hide surprises for those who think that know Giulini and of course they are a treasure for those who didn't meet the great master yet. All in all, thanks to EMI for a gret gift from all points of view, quality of sound included.

A Bolero from a different world Celibidache's take on Ravel's masterpiece

As much as I would like to respect Celibidache's wish to stay clean of recordings I cannot but be so happy that his work with Munchner Philharmoniker became available on cds. One of the most fascinating musical personalities of the last century, and one of the most controversial for that matter, Celibidache's vision on music made his concerts and make his cds a revelation for anyone who thought famous repertoire has no secrets anymore. Yes, it is true that his highly intellectual interpretations aren't the best options for the first audition of a certain musical composition. Yet, what an umbelievably rich and vast universe opens at the time one becomes quite seasoned with one work when one turns to Celibidache's version.

One of these cases are present on this cd. Although the reason I want to talk about this cd is Ravel's Bolero, Mussorsgy's very popular work has a very similar treatment. I am pretty sure that there is no need to say anything about one of the most popular classical pieces such as the Bolero. A star that everybody thinks they know and it has no secrets for them. And then, you put in your cd player tray EMI's incarnation of Celibidache's version and everything you know falls apart. In the end can't help admitting that: "Yes, this piece is about rythm, not melody". What sense would make playing the same melody over and over again, compared with bringing the very essence of Earth's energy closer and closer to surface. The idea is to bring the vital pulsation of life closer to those fortunate to assist. This is what I imagine Celibidache is saying as he conducts his Philharmonic through this vital form of energy flow. Because this is what you feel in the end. Nature's heart beat in one fundamental form, the dance.

The orchestra he made sound like a world-class orchestra is fatefull to his master and delivers everything with precision and quite passionately. The multiple soloists do their job very well and technically speaking the whole thing is without fault. Yet, what is absolutely impressive is the parallel world of sound and feelings that opens and doesn't have any direct relationship with the actual sound production. Is where the mastery of Celibidache manages to recreate the natural phenomena that were in the beginning the very source of music.

Again, this is not the first version you want to hear but is definitely the one with which you want to be left in the end.

Elisir d'amore

Here my friends we step into the beautiful, at times delicate, but certainly with a good concentration of humor, period of Bel Canto. And the recording I'd like to propose to you creates a very good image of what this period and style should be all about. A lot of people feel atracted to it for very understandable reasons. The music is very melodic and requires nothing more but a beautiful voice capable of nice trills. The overall feeling is of light, laid-back, fun-indulgent music that is extremely likable.

Although, not the best and not the most famous of Bel Canto era production, Elisir d'Amore has lots of fans. The reasons are obvious when you start listening: beautiful music, some delightful areas and very funny moments. When done right one sees no reasons to call this a difficult work. Yet many dull recordings tell a different story. Many conductors have difficulties getting it right and the cast has to be in very good vocal shape and interpretative mood to pull it out in a convincing manner.

This recording has most if not all the qualities in place. It all starts, as it should, with Bonynge who gets a very good and consistent performance from the English enssemble in a very nice bel canto style (he proves his abilities with this music in his wonderful Lucia also) , managing to highlight the great moments of the opera and a detailed characterization of his characters. Then, come the two protagonists. Pavarotti is in the best shape I have ever heard him. The music and the character suit him nicely and he displays a gorgeous voice very well molded on the psychological profile of the music. Probably one of his best recordings alongside his remarkable Requiem. You won't hear a more beautiful and full of clean voice "Una furtiva lagrima". His feminine counterpart is equally good if not better. Joan Sutherland is also at a vocal peak and she's a treat throughout the opera. Their duets sound from a different world.

The supporting cast is less impressive yet does a good job "supporting" the two lovers. My favourite character in this opera, the hilarious huckster Dr. Dulcamara, is not served in the best way I've heard. For me, his voice is a little to heavy and not elastic enough especially for his introductory aria but he does a fine job nonetheless. Belcore, the other important character is better sang and acted (at least compared with Nucci, in the other Pavarotti recording with this opera) and even though plays a very imoprtant role in the opera I'm not very fond with him and I won't say more.

So, if you never listened to a bel canto opera this is a recommended first and if you like Elisir is also a mandatory addition to your collection.

Scheherazade - Pas de deux

For this review we rest our thoughts on one of the most popular symphonic poem: Rimsky- Korsakoff's Scheherazade. Describing in music the adventures of Simbad the Sailor it is a work of beautiful melodies and endless emotional power. Korsakoff reaches very distant shores of psychological detail and asks from members of an orchestra the same level of performance as from the enssemble itself. Everything he describes is carefully shaped and carved in some of the most beautiful and memorable melodies composed. It is almost like a democratic gathering of the instruments, a medley of concertos for instrument and orchestra. A lot of recordings let you guess how rich and beautiful this work is yet few mange to show it completely.

Listening to about a dozen recordings and couple of live concerts convinced me that if you want to live the full experience of this work you have two options: Sir Thomas Beecham and his Royal Philharmonic Orchestra or Fritz Reiner and Chicago Symphony. They deliver the same complete performance but they do it in such a different way. However you cannot go wrong at all with any of them.

Beecham unleashes the poetry inside like no other, the strings are heavenlish and the solo parts are gorgeous. The musical drama is all there yet he allows time to dream and to taste the delight of another world so beatifully described in the music. Everything bears the mark of his innate elegance but in the same time the characters and their adventures develop with power and conviction. The RPO plays in a different league and the result is an interpretation that completely transforms everything in the listening room. Beecham and his orchestra create a living phantasy world with a lot of misteries and things difficult to understand and yet so more beautiful.


Reiner on the other hand comes to tell with precision and power the drama within this music. The Chicagoans are in perfect shape and play marvelously for him and Reiner uses their capabilities to shape a very articulate music, played right from beginning to end. The dreamery moments are all there in full splendor yet they are just short breaks from the unfolding of the drama. His control over the music is exquisite and he has at hand an orchestra that manages to go all the way effortlessly (at least it seems so) to bring forward with crystal clear logic and conception a very powerfull musical experience.


They are all great moments in recorded music and definitive redintions of this much beloved composition. They differ in character yet they are very similar in effect. If you like Scheherazade you owe to yourself to listen to both of them.

Mozart's Last Symphonies

Karl Bohm is one conductor I met first in reviews and talks but I listened to his work pretty late, in my listening 'carier'. The very first thing I've listened to was Beethoven's 9th he recorded for Deutsche Grammophon. Very impressive work, yet I kept hearing that he is the Mozartian of the century and so on that finally I've gotten the 2 cd box with the last six symphonies of Mozart recorded with Berliner Philharmoniker for the same german recording house. And I am telling you only this: as much appraisal they get it is still not enough.

I will start with the Berliners. At the time of the recording they were already in Karajan era and they were already at the peak of their form in terms of tone, execution and overall enssemble performance. These recordings surprise them in their full splendor. The strong teutonic tone, the extraordinary discipline and precision in execution, the wonderfull blending of all orchestral compartments, the perfection of every detail, and the incisive crystal clear sound are all there captured beautifully by DG's engineers with enough room tho let this big, powerful body to breathe. It is not the first orchestra you'd think when it comes to Mozart (unlike Vienna Philharmonic for example) yet they form the ideal instrument in the masterful hands of Karl Bohm.

To him we owe what is probably the single greatest Mozart recording there is. It is hard to find words to describe perfection, because this is what Bohm and the Berliners achieve. The conception in the first place is flawless, both in the understanding of the musical structure, the human content that it sustains and last but not least the style of Vienna's wunderkind. The execution just makes absolute justice to so fully understood works. Everything makes sense. Everything is beautifully played, there is no error in execution or expression, an entire world just opens in front of your eyes and the whole universe of Mozart's inner-life just steps into the light with every detail clearly and beautifully shaped. The strings recite poems, the winds make declarations of all sorts, the timpani just make sure that at the right time the right point gets enough attention. It puts you in a state of wonder and immerses you in something that is more than a life experience.

These recordings received a lot of prises yet none could tell you what a musical treasure this is. Meeting Mozart so close and so real with such a superb company is just something you can't miss.

Beethoven's Quartets by Alban Berg Quartett

The quartets, like any other composition of the Titan of Bonn, are blessed with numerous recordings. Integrals or individual recordings they are the measure of artistic maturity and competence for all enssembles that thrive for greatness. There are, as always, some names that one usually meets when looking for above average interpretations: Emerson Quartett, Quartetto Italiano, Julliard Quartett, or Amadeus Quartett. All of them are important names and their interpretations have more qualities than weak points. Yet, my favorite is by far Alban Berg Quartett.

Some say that Quartetto Italiano plays a more involved Beethoven chamber music and makes justice to the richness of emotions that lie within this music too (as for anything Ludvig composed). Yet, for me, the chamber music is always about sound as much as it is about interpretation. And while others have masterful interpretations too the sound is a particular strength of Alban Berg. You could say is because of the wonderful instruments they play on, all of them Stradivarius made, but I really think is more than that.

Their set was the first one that gave me full satisfaction in all quartets no matter what their period is. The first quartets show the young Beethoven that still draws his strength from the strong roots of classicism yet Alban manages to express beautifully the birth of what will be the landmark of Beethoven. The manifestation of emotions and thoughts in a musical drama. At this time they are quite shy and well-behaved yet plays develop with characters and wonderful music. In the last quartets, however, you see the Beethoven that composed the 5th symphony. Nature erupts, human struggle is manifest with devastating power, the most profound of human emotions get expressed without a shadow of restraint. Yet again, Alban Berg is on top of the music, and manage to recreate it all but with extreme clarity. A key role plays, as one expects, Günter Pichler, their first violin, that reigns supreme over every score and plays the solo parts with insight, intellectual tension and wonderful tone. The rest are of course as good and manage to lay at your feet the complete experience of this most intimate contact with the inner world of Beethoven.

You might find joy and reward in many other recordings. I personally do when I listen to Amadeus Quartet, another master viennese enssemble. Yet, everytime I need to get in touch with this part of Beethoven's music I keep returning to Alban Berg and I really encourage everybody to give them a chance to prove why they are one of the most prominent groups in chamber music.

PS: they also have a highly acclaimed Mozart set. I've listened to it partially but what I've heard is trully in class of its own.

The Meeting with Vienna Philharmonic

If you started listening to the kind of music we are talking about on this blog and you are trying to build an informed collection of its recordings it doesn't take long till you find out about some great orchestras among those you meet on cds and among them a special flavor has the Vienna Philharmonic. They have an aura of super-orchestra and a lot of the great recordings of the century have them as protagonists. So, any occasion to meet and listen to them live is an one-of-a-kind experience.

That's what happened to me and some of my friends just couple of days ago. Vienna Philharmonic visited Houston and we were there for receiving the unexpected gift. And the first thing I have to say is that it was much more then I have expected. They came with Riccardo Muti as their conductor and played in order Schubert's Rosamunde Ouverture, Mozart's 35th symphony, "Haffner", Schubert's 4th symphony, "Tragic", and Richard Strauss' Tod und Verklaerung. Beautiful program, perfect for a Sunday afternoon but the wonder was all in their playing.

Everything I have ever heard or read about this orchestra proved to be beautifully true yet being face to face with them revealed a lot of other things that are difficult to put into words yet they are so real and true of an experience. The incredible quality of playing of every musician in that orchestra, the remarkable technique of each of them individually but above all of the orchestra as a whole, the precision and the accuracy in execution, the incredible unitary and beautiful sound they are able to produce, the logic and the artistic intelligence they put into their execution, all of them were happening in front of us leaving less room for anything than wonder and pure delight. And everything was produced with the strong flavor of the most genuine viennese style. There was a sense of effortlesness that you can only have in the presence of great masters.

Muti on the other hand was in great shape. Consuming a lot of energy and maintaining an extremely tight connection with his orchestra he made a compelling demonstration of his extremely acute musical sense, exceptional conducting technique, and, what I liked most, the passion he puts in music making and the dedication to the "true" sound of a certain score, to its living soul. Everything was balanced, with the right tone and with the right amount of accent with the single goal of revealing the truth inside. The level of detail which he manages to create in his interpretations and the overall clarity of his conception where made real by the extraordinary instrument he had in front of him. And it was a top-noch quality instrument virtuosic from inside out. They like to play for him (I know it sounds a little weird yet it's not rare that orchestras don't 'listen' to their conductors) and delivered with abandon their master artistry.

I could go on and on about how incredible this concert was but I will just say that as an encore they played for us the ouverture to "La Forza del Destino" by Verdi and that pulled everybody out of their seats. The speed at which they managed to play this beautiful ouverture was amazing, but their sheer virtuosity and their infallible musical sense pulled everythig off with a clarity and enthusiasm that vibed even the walls of the Jones Hall. I just hope that occasions like this will cross our lives more often.

Where should we draw a line - The Bocelli "phenomenon"

I accept to kinds of opera singers: those who have a beautiful voice, even if their interpretation skills are poor (Pavarotti is the most famous example) or those that posses a special skill of making the musical message transparent for everybody. Still the voice should have a good quality but it's not mandatory to be beautiful (Callas or Gobbi are good examples). Anything else in unsatisfactory.

However, nowadays I am more and more annoyed by a false phenomenon and my problem is that he is considered based on some recordings a great opera singer. And he is not. I have been in touch with Andrea Bocelli ever since his entrance in the public arena couple of good years ago. He was promoted by a show at one of Italian TV's dedicated to the descovery and promotion of young, unknown yet great talents. In that context the story of the guy that can't see but has his voice and his songs to feed his brain was touching and gave birth to compasion. After a while though the same singer appeared more and more poignant in the musical life of the world, culminating with his "one of kind" redemption of some operatic repertoire. And that's where I thought that commercialism was going to far.

Although for light salon canzonettas he is probably an above average singer he is by no means an opera singer. Anything that requires a little effort from a voice and interpretation is over his head. He has a limited voice, full of problems, a timber that is nice to hear just for a very short part of his register and technical problems are always the matter of the day. On the other hand the ways he sings shows clearly that he has no intellectual power to express the drama of the character he is trying to sing. That's why I think that just because of his success in a certain target population, traditionally the target group for romances and canzonettas, and the very "publicity generating" personal story his agents and himself shouldn't go so far as to the claim to be an opera singer. Because he is not and he can't be.

So in case that you think of spending on his recordings with opera music, spare the effort and the money and go with the "real things" that are more than enough out there to satisfy any taste. Andrea Bocelli is no opera singer and that's that.

Anything but 'Unfinished' - Schubert by Carlo Maria Giulini

As probably some of you know, finding a recording of Schubert's 8th, 'Unfinished' symphony is not easy. Although of short length it is so full of musical and human drama and so round an expression of destiny as an unexcapable given, that is a real challenge to make it live to its real potential.

And yet, if only for Schubert's symphony and there are not enough stars for this CD. I looked a long time for a version of this symphony that will sound different every time I listen to it (the way Bruno Walter said) because I really felt that this symphony is one of those rare compositions that mix with your state of mind and spirit to accompany your thoughts. Listening to this CD was a revelation. A wonderfull orchestra in the hands of a master. An ever fresh sound, beatifully blended and right at the heart of Schubert. Arrau said that Schubert's latest works suggest the composer's feeling of fatality. You can understand this if you listen to Arrau's recordings of the latest Schubert Sonatas (especially no. 21) and Giulini's version of the "Unfinished" symphony. The breathing is vast and tensed, the strings carry the message to a powerfull climax, everything in a flow of unshakable inner logic. The depth of the conception and the sheer beauty of a most refined orchestra make this recording one apart.

Dvorak's 9th is also a very fine version even though I consider Celibidache's version with Munchner Philharmoniker the last word "From New World". But make time to listen to Giulini. His orchestra has always something to say that you never heard. Everything you expect to hear is there and probably the only thing that I find a little inappropriate is to much refinemet here and there, less of a teluric feeling that I think this symphony is all about.

A surprising Requiem

I like Verdi's Requiem and I really believe that Giulini's version is the ultimate version. But of course there are others full of merit, Serafin's vintage recording is a landmark, and so is this recording of Solti. Although very different from Giulini's it is a very satisfying experience and most of all because of Pavarotti. I don't think much of him as an interpreter. He had a phenomenal gift in his voice but it was never backed up by an equally impressive artistic intelligence. However, in this recording he sounds so right. The voice is in its best days (so all those who are huge fans of Pavarotti's voice will have a great reward) but also he is so on top of everything the text and the music is intended to transmit. His Ingemisco if it's not the best, it is one of the best for sure. Everywhere he has a part he makes it shine.

Another great highlight of this recording is Martti Talvela. Probably one of the most impressive basses of the modern era, this tragically short lived star, forms the backbone of the recording. He is in touch with all the human suffering and dispair, his voice cries with dignity. Among others, the Lacrimosa owes him the cathedralesque beauty it has.

Another top notch performer, also in excellent voice at the time, is the unmistakable mezzo colour of Marilyn Horne. She makes you shiver and I couldn't help but thinking that there is a reason why the final day will be announced by a woman. Again her Lacrimosa with Talvela is a glorious moment of this recording and of this Requiem recordings in general.

Solti does a very good job. I started listening with circumspection as I couldn't see his very energetic temperament doing to much good to this work. He manages to hold his horses and pulls off a very convincing operatic conception. I still don't feel it has the unity and the flow of Giulini yet it is still a very good version, also in very good sound.

I left for last the only major dissapointment of this recording: Joan Sutherland. Although reading the cover I thought she would be the star she turns out to be the weakest spot. She is in voice but she doesn't understand anything. She is underpowered by all means and it really looks like she just couldn't find her recording room and stayed with this one. Such a big pitty.

Anyways, this recording has a lot to offer and there are a lot of reasons to listen to it. Dies irae, Ingemisco, Lacrimosa just to name a few of the bijous you'll find on this cd.

Brilliant bon humeur - Ormandy and the fantastic philadelphians

George Ormandy is a conductor I descovered late, yet he makes me so happy of my descovery. This is the last cd I got in a series and it's like a delicious cake at the end of a most satisfactory meal. All the small pieces on this cd are famous, some of them had a great career in Disney classics (like Dukas' "The Sorcerer's Apprentice" and Ponchielli's "Dance Of The Hours" in Fantasia and Brahms's Hungarian Dance No.5 in Three little pigs) the others are as famous. They are a treat even for those not so fond of classical music.

On this cd though you find them in some of the best shapes ever. Even though they come from so different backgound they are treated equally. The Philadelphians are indeed in fantastic form, Ormandy loves these pieces and manages to recreate them with the seriousness and wit they deserve. I found here a very old favourite of mine (Brahms' Dance No. 5) in one of the best versions I've heard. Furtwangler has another delicious version. The Dance of the hours is funny and pulls you off your chair, Saint-Saens' Dance Macabre has just the right amount of darkness and spookyness; everything is played so right and you just live a continous happy and very enjoyable audition. Last but not least the sound is exceptional, especially for the time of the recording and everything is done so you feel really well, due especially to Ormandy who approaches this small pieces without a shadow of selfishness and with very much care.

Enjoy!

What should've been greatness

I would guess that what I'm about to say happened to some of you also. I was watching Shine, the movie about the life and music of David Helfgott and I was descovering as the movie rolled a great musician. A great merit goes to the creators of the movie and to an extremely powerfull soundtrack however it was obvious that it's the story of a musical phenomenon. The single piece that impressed me most in the movie was the Rachmaninov interpretation he gave at the graduation (i think it was the Royal College of Music in London). To that point it was hair-raising interpretation like I haven't heard till then and finding the cd became instantaneously a very urgent goal. It wasn't difficult to find a copy and off to listening we go.

This is the point where this review has its roots in. It was the most dissapointing musical experience I have ever had. Not a single thing from all that I have expected was there. I just sat and listened to a crippled musician, playing a concerto way to big for him. The technical errors are so many that make the recording almost impossible to listen to. And even further there is no conception whatsoever to it. Of course, it is very difficult to make a clear point when every 2 bars you start over on the wrong note. There is no point in discussing the orchestra because no matter what they do they can't make up for what's going on at the piano. And this is a live concert. The other pieces on the cd are studio recordings. The mistakes are less yet there is no soul nor thought to it. It's just the coffin of what Rachmaninov put into them.

So, a piece of advice, if you hear the story (which is impressive) or you see the movie (also very good) don't make the mistake of buying this cd. You'll be very sorry. Try any of Horowitz' recordings, the fiery version of Martha Argerich or any other you can find.

Bach for everyone

Even for those who enjoy Bach's music his compositions for organ form a group not that easily accessible. The particular sonority of this 'orchestral' instrument and the richness of his acoustic output can be a pain as well as a treat. The music that those pieces contain though, is some of the most inspired and profound Bach let us. Fortunately for all who happen to think this way there is this cd that puts that great music in a more accessible form: the symphonic orchestra. And what a result this is. We owe it of course to the great musician Leopold Stokowsky, who was one of the most distinguished and interesting musical figures of the last century. He did the transcriptions and he conducted them in what would become one of the most true Bach recordings. The religious delf is all there (the orchestra is carefully responssive and plays with wonderful seriousness) but the orchestral sound makes the music so more human-like and so much easier approachable and understandable. It is a jewel and you can even say unique, as it's the only recording with this work.

Try to get especially that now comes packed with a bonus DVD which shows Stokowsky conducting Debussy. And if you are watching the DVD try to focus for a while on the man's hands. It's a show in itself.

Norma

Callas made this role her own during her career. She sang this part on numerous occasions and she recorded it more than once. I've listened to one more recording except this but in the end I return to this one as my favorite Norma. And the reason is not Callas (as she is in a very good shape in both), but Christa Ludwig. In my view any good recording of Norma desperatly needs as good a mezzo as a soprano. Their duet is one of the highligths of this opera and any weakness at all ruins it. As I once read somewhere and I do stand by it, in this recording you have the two best representatives of the German and Italian schools of music working together to create a most impressive vocal and dramatic piece of art.

And there is still more to this recording: Franco Corelli as Pollione and Tulio Serafin conducting. Aside from being my favorite tenor, Pollione is one of Corelli's landmarks roles and in this studio recording you can hear why: his voice is in great shape, the phrasing is superb, the dramatic content of his character is so reach and true, sculptured with beauty and authority. You won't hear a better Pollione. Serafin, on the other hand, the last great representative of the old school of opera conducting puts everything together in the most convincing manner. You won't witness fireworks or earthquakes but you will hear a perfectly glued musical story, wonderfully painted musical landscapes, rock solid logic in the support the orchestra gives to his characters evoutions and conflicts. I'll mention Zaccaria for his name and his professionalism but I have listened to him in better form.

All in all you have five of the greatest opera artists working together to create the full splendor of Bellini's masterpiece.

The last great piano concerto

1909 saw the birth of what was to be the last great piano concerto, the third of Rachmaninov. It soon became a landmark in piano literature and a real shibboleth for all pianists. As you probably know already it is a sea of expressivity in all registers and pianistically a technical monster. As such, although many tried to approach it the achievers are few and trully great recordings even fewer. One of the problems is that, as for any truly great concerto, the pianist and the conductor have to be as good and have to cooperate extremely close to make it work.

Now we get to the recording in case. Horowitz left us with 3 recordings of this concerto. Preferences go to any of them yet, what makes this one special in my view is Ormandy, as I will explain it further. Probably it will suffice to say that Ormandy is the conductor that conducted Rachmaninov's performance of the concerto. Horowitz too had the maestro's blessing. Although this might sound as reasons enough to listen to it the real reason lies deeper than that. Compared to his previous two versions Vladimir is a little wiser and takes a different approach. His incisiveness is not as acute as it used to be yet he brings a whole new dimension as far as the details and profoundness of his interpretation are concerned. In this recording you can see clearly through technical fireworks all the way to the very soul of the composition. The development of the concerto is flawless and his expressivity at the keyboard lets very little room for more. As I was mentioning what makes this concerto a real landmark is Ormandy. In his hands the orchestra it's a huge mirror molding perfectly on its moods. They sound superb and when time comes to take the narrative lead they tell the rest of the story equally convincing. There is no crack in this perfect marriage. The piano and the orchestra are like the hands of an exquisite ballet dancer. Sometimes the cellos can make your heart tear apart and just the urge to hear what's next keeps you on top of things.

All in all you have to listen to this. You can try other versions that "made it" (Horowitz and Reiner, Martha Argerich's famous redemption, Ashkenazy) but I will go to this one as soon as possible.

Tchaikovsky's First Piano Concerto

Everyone will tell you to buy this cd for the second Rachmaninov Concerto. It is indeed an excellent version and it?s worth every penny. I would like to tell you instead some things about the Tchaikovsky Concerto. It looks that many are influenced by the review that says that there is an incompatibility between the pianist (Richter) and the conductor (Karajan). Although it is not entirely wrong I would beg to differ. It so happens that I think that this concerto like any other romantic concerto is about passion, abandon and living each moment like it is the last.

Any true or invented reason for tension between the two protagonists in this case serves so well the general cause. Let aside that the sound is superb (the instrument and the orchestra) the constant sense of urgency makes this concerto special. In fact, I like it so much that I'd say that this is my favorite version by far. Richter is in peak form and can't allow himself the luxury of being elegant with feelings and moods that aren't elegant. Karajan, conducting a Berliner that sounds as impressive as ever, has the luxury of creating exquisite landscapes for the poor piano man's fight with his daemons. The more brutal and direct the piano gets the more detailed and refined the orchestra goes creating, at least to my ears, an antithesis that puts this concerto in a different class. All three parts are as good and the logic connections between them is so strong that one can hardly say that there three and not one from beginning to end. It is so good and so convincing that I think it has the power to make Tchaikovsky liked even by those that don't like him. Do yourself a favor and listen to it. Coupled with an equally great Rachmaninov 2nd it's hard to imagine a better deal.

The master version of Nocturnes

When it comes to Chopin just a few will mention Arrau amongst the greatest of interpreters. While pianists like Cortot or Rubinstein completely deserve to be in that class there are some others that really make a very strong case of Chopin as a great composer. Claudio Arrau is one of them, for me the best of them. Everything I heard from Chopin catalogue played by Arrau is in a class of its own. And this CD is a very strong argument. Just listen the first Nocturne and enjoy the profound and self accomplished spirit that it discovers. The inner logic and the beauty of playing has no match on any other recorded version.

Chopin was no composer for the ball halls yet an agile explorer of the soul and moods. And that's why Ashkenazy would never be but a medium size interpreter of Chopin. The great musical insight of Arrau manages to walk on the roads that led to the creation of these Nocturnes and this is the best reason I can give you for buying and above all listening to these recordings. Every Nocturne is a masterpiece in itself and the Chilean master reveals all of their power and beauty with no compromise. From all the recordings only Rubistein RCA Red Seal edition and Moravec's complete set manage to reach the heart of this little jewels but any of these let me wanting to go back to Arrau.

If you like Chopin and especially the Nocturnes you owe it to you to listen to Arrau's set.

Human above all

All of you who searched for a great or true recording of Bach violin sonatas and partitas know how difficult it is to find one that shows more than effort to overcome technical difficulties and manages to express the richness of ideas and feelings that these pieces embed. Well, this is a recording that it's all music. Milstein surpassed in another life the pure technical difficulties and all it concentrates here on is to make Bach's message as transparent as possible. At one time you only hear Bach telling about love, suffering, friendship , and so many more, while the violin and the violinist himself are not a noticeable presence anymore. All you hear is sound so pure and coming so straight from the place souls are born that all is an unbelievable experience.

Talking by the fire maybe you can remember about technique, about dance, virtuosity and so many other things you might hear about this recording, but when you are just listening is all about finding things that you believe coming to you through music. You meet your inner self in a way possible only through music.

Maybe this is the best of all recorded sets (I haven't listen to all) but sure is one that can set a standard. But believe me you won't care about any classifications once you've listened to it. And make sure you have this set. Nathan Milstein has another set on EMI, yet getting older and wiser did a lot of good to his approach to this music

A very must for everyone for whom music is a life keeper.

Sometimes 5 stars don't tell the whole story

There are things, at least in recorded music, that cannot be comprised within a scale. They go beyond that and give the measure by which you can assign value to similar things. This recording is definitely one of those.

First is the overall impression. It is vivacious, humorous, so real in communicating the facts of life it contains. It is also so Mozartian. Mozart in a very inspired work of his. There are of course some things that can explain this accomplishment at this scale.

I will start with the conductor. As his many landmark recordings stand proof, Giulini is one of those rare conductors that can get in the mind and heart of the composer and express in perfect shapes the thoughts and feelings their music comprise. He also has an extraordinary sense of drama and this helps everywhere in music making and more so in opera. Last but not least he has a real gift for casting. I am not aware of all of his recordings but those I know follow the rule of very inspired casting. Just the way he casted Taddei and Wachter in this and Don Giovani recording and is a very convincing proof of that. And everything I mentioned is visible in this recording. Don't make the mistake of considering Bohm over Giulini. He is an outstanding Mozartian but the theater wasn't the most inspiring place for him. You won't find there the same drama and vivaciousness although the music is beautiful nonetheless.

Then you have the voices. The first amazing thing is the way they actually can express things, act. The voices themselves are amazing. Everything said here about damme Schwarzkopf, Moffo and the leading male parts at least is true. The greatest thing for me though is the way they act and express things. The newer generations try to produce beautiful sound, great notes and so forth and little room is left for the actual expression of characters drama. And that is a minus of any of the newer versions.

So don't make the mistake of going for other sets. The only real competition for this set is Kleiber's 1955 account which has almost the same strengths but just a poorer sound. With the rest you will never go as much to the heart of the characters, of the conlicts, of the overall humor and life-like atmosphere.

And, if you didn't already, try Giulini's Don Giovanni and you will see the same things happening once more. This is no happening. Is real music making, opera coming from real, incredible talent and science.

A glorious Aida

So far is the most rewarding Aida I have heard (and I heard Karajan's, Muti's and one of Callas' with R Tucker). Everything from conducting which is rock-solid and beautifully blended to the choir and trumpets in the march is what this opera should be about.

First and foremost is the amazing Corelli who does one of his landmark characters here. He is heroic and gentle in the same amount and could pull you up from the chair or can bring tears from your eyes in the final duet. And you must be really malintended to say that his diminuendo (amazing to almost unbelievable) is a fake. And the way it serves the moment is the mark of an outstanding artist.

And yet you can't say that this set should be called Radames. Nilsson is powerfull. Great voice sometimes a little to great for my taste but on the other hand I can't see many sopranos standing next to Corelli in the kind of shape he shows here. A very real and believable Aida. The duos with Corelli are so full of emotion, intensity and glorious voice you couldn't wish for more. Very good indeed.

Sereni is the big surprise. Even if he doesn't have the greatest of baritone voices he sounds passionate and defines his character in great and very beautiful detail. A real accomplishment.

And don't make any mistakes. Grace Bumbry comes up with an Amneris that is everything you expect her to be. You can feel her pain her deep conflict with Aida, her love for Radames all in beautiful singing.

The high priest and the choir do a very fine job completing a great Aida. It doesn't have any weak moments. It is full instead of many great ones. It is impossible to go wrong with this version of this opera.

A final mention for Mehta and his Roma opera orchestra. They sound gorgiously. I didn't feel sorry at any point missing the details of Karajan or Muti. They play with passion and strength giving the singers a prolific and inspiring sound environment. Their orchestral parts come very well as equals of great moments the singers bring.

This is an Aida that proudly stands among the Aida's that make the rules in the recording history. One of the very heavy measures for the others recordings.

Cosi should be

I must say that is is another complete accomplishment as far recording opera is concerned. I must say that Mozart operas found their fulfillment in modern recording era. The great four have all found their definitive versions. With you permission I will mention them as they deserve that: Don Giovanni and Le Nozze di Figaro with Giulini, Die Zauberflote with Klemperer and this Cosi fan Tutte with Bohm.

For me the pace Bohm choses throughout the whole recording is what it should be. The voices are great and most important the conflicts and life situations are rendered with utmost charm and credibility.

A great surprise finding in this Mozart opera Christa Ludwig who does a lovely job. Schwartzkopf is sublime as usual and she deserves the title of Mozartian soprano of the century. But I love above all the male voices in this opera. They strike you right from the beginning with fine detail and delightful nuances of their characters.

All in all you will find everything here. Good humor, very well pointed situations, great singing, powerful and extremely lively characters, great orchestra and an overall atmosphere (much to Bohm's credit) that is a good demonstration of the genius of Mozart. Definitely one of Bohm's greatest victories on disc and one of the great accomplishments in opera recording.

A masterpiece of conducting

For me Don Carlo is Verdi's masterpiece. You find here a very good libretto which makes a lot of sense (compared to Il Trovatore for example) that has a very natural balance of human drama, powerful characters with veridical evolutions and above all some of the best music Verdi composed. It is flawless, and supports with depth and detail the characters and the conflicts without weak moments or loss of "concentration".

The vocal parts aren't as demanding as others in any register. Yet, the length and the profound impact that the orchestra has in this opera and the complex turns and situations the opera encompasses make me believe that a successful Don Carlo is first of all a problem of conducting. And I think that this is why everybody turns to this recording when they have to name the best recording of Don Carlo.

For any of the vocals here you can find someone better. I personally prefer Corelli over all the others, including Domingo which here is in a very good shape and delivers a very involved and careful rendition of Don Carlo. Martti Talvela is indeed unsurpassed in the role of Grande Inquisitor, but Estes here does a very fine job. Ghiaurov's Filip is indeed overwhelming and I love him as much as the others do. But I have to say that I found Raimondi to be a revelation. Maybe his voice is a little lighter but the sensibility and expressiveness Raimondi is capable of, deliver a very refreshing and rewarding contribution to this key role. Milnes is also very good. The first Don Carlo I heard had Bastianini singing Posa. Both him and Gobbi are more rewarding in terms of tone and interpretation. But Milnes comes really close and he makes a very convincing case especially in the duos with Domingo or King Filip (a real miscast was Dietrich Fischer-Dieskau, in Solti's recording). The ladies are as god as those on other recordings if not better. I really enjoy what Caballe does in the role of Elisabeta and Verrett is a very capable pair.
In conclusion the roles in this recording are handled extremely well and I can't help thinking that the star singers of some of these roles (mentioned above) were sacrificed for the unity of the cast, a good performing team.

So, in the end, everything comes to conducting. And here I think this recording is unsurpassed. The extraordinary sense of tempo that works wonders elsewhere is displayed here by Giulini in full power. And such, the opera unwraps in front of you with a "life-like" quality. Nothing is exaggerated for the sake of a particular temporary effect. But when the development of the drama asks for it power and intensity are there to deliver the goods. As usual with Giulini the orchestra is so dedicated to its conductor and you can hear inner voices inside the orchestra that you won't hear anywhere else. The characters, entirely supported by the orchestra, evolve naturally in the same right atmosphere with flawless inner logic. It is the only recording of Don Carlo which has a sense of unity and of a "single piece".

HMMMMM!

Well, it is amazing what this recording has done among music lovers. And one thing is certain that this is no usual Brahms recording. On the contrary is a pretty remarkable happening in the recorded music history.

Now, let us consider the time of its appearance. It is 1981, some good years after almost all mentioned here as real Brahms achievers, at least on disc, were gone. Neither Furtwangler, Walter, Schuricht or Mengelberg were amongst us for a while then. So this recording came, in my opinion on a very dry land as far as good Brahms interpretations were considered. I might upset some here but Karajan and Abbado are far from understanding enough of Brahms to be real contenders here (Karajan judged well that the strings of Berliner can make a very beautiful sound with parts of this compositions). Giulini was doing a fine job even though he wasn't able to go really to the heart of this music.

So, here comes mister Kleiber who makes a new case for Brahms as an outstanding composer. A recording that entered the Big League completely worthy. All the sense, drama and music of the symphony were there, the Wiener played superbly (as they do not all the time). Kleiber masters the music and his orchestra, his control is complete and as usual his artistic intelligence takes out in the open all what is buried within the notes of this symphony. And he does it so energetically with such crispness and control, as many mentioned here. And I think that is where the whole thing suffers from my point of view.

It is true that Brahms' music is tragic and full of human passions and conflicting feelings. But can you really see the big bearded man as being so crisp, so precise in his burst of energy, so "modern" lets say? I cannot. And that's why I am missing in this recording the warmth and deep yet intense and demanding expression of "humanity" you find in Walter or the very natural and less controlled yet more powerful dramatic accents you find in Furtwangler. For me, here, between these two, one can find the ultimate expression of Brahms, as a complete musical and human experience.

Mr Kleiber gets four stars for understanding and expressing everything so well, with such perfection but is denied the last star for being to perfect and calculated. Briskness is not something that helps in Brahms in my opinion. As well as two focused energy.

Try to listen as many recordings as possible to get the one that really "sings Brahms" to you.

End of the road

This is what I felt when I finally got to listen to these concertos after couple of years of intense searching. Although technically maybe not so difficult as said everywhere, I found them extremely difficult as far as music and 'the right tone' goes. Horowitz once said that nowadays people play Mozart like Chopin and vice-versa. And this is true for many of the recordings with violin concertos. None I've listened before really told the story of these concertos. I got as close as I could with Mutter/Karajan and Perlman/Levine. Yet sometimes the violin was to impersonal (Mutter) or the orchestra not quite on the subject (Levine). This Christmas I finally got to listen to Grumiaux of which I've heard before and let me tell you this: everything you read here is true. Grumiaux is playing the whole Mozart in these concertos. I'd go as far as to say that is is one of the best Mozart 'incarnations' in sound in all recorded music history. He is elegant, wonderful and full of understanding phrasing. Everything is there in full range. Colin Davis does, as usual, a great job accompanying an outstanding performance in every aspect. Even those of you who only enjoy a very good recorded sound have all the reasons to be happy. It hardly can get better than this. But Grumiaux deserves all appraisals above all. What he does is extreme and sweet justice to Mozart and to his music.

Definitely a great CD

When it comes to buying one of Beethoven symphonies on disc usually you have to choices: to go with the classics (Furtwangler, Klemperer, Walter) and their powerful and insightful approaches or to get a more modern approach (to Hogwood) sometimes with pretty strange results. To find a recording that stands somewhere between, that is both emotionally powerful and yet full of energy of our time the choice isn't easy. And that's where Kleiber comes in. With an extremely responsive orchestra and impeccable recorded sound Kleiber gets the perfect balance between classic and modern interpretation. All the tension we were used with by conductors like Furtwangler and all the grip of someone like Karajan is there in a perfect combination of something that must be one of the landmarks in recorded Beethoven and in recorded music of all times. Buy this CD and listen to it. It's as rewarding as people here say. Definitely an essential recording.

Opera its not necessarily about the prettiest of voices

And this recording of Rigoletto is one of the best proofs. Perhaps Callas didn't have the prettiest of soprano voices but all those who love her love the enormous amount of things she was so able of transmitting. She is a painter of extreme insight and of fine nuances and not one of great frames. The way you can understand every detail of Gilda's feelings and moods without understanding even a word takes discussion at another level than those of great voices. Damme Sutherland as much as she tries never gets at the same level. And so being her character is weaker and less involving.

Same but not all is true about Gobbi's Rigoletto. Listen the way he can cry and scream in "Cortigiani, vil razza dannata" and you will find anything else unsatisfactory. Not all is true because I actually think Gobbi has one of the most beautiful and versatile baritone tone in the recorded music. But again his charm and uniqueness comes from the extraordinary capability of describing in singing his character sometimes more than music itself could do.

Last but not least you have the authoritative direction of Tulio Serafin "the opera conductor" of those days with great knowledge of his favorite cast. He lets the tempo breath there were the drama get more intense and his singers need to define in great detail the feeling. And they do it in such a rewarding style. Just listen to the final quartet of this opera and everything will became clearer than I could ever express in words.

And lets not forget Di Stefano. This is a count you can believe and understand not just a proof that higher notes can be perfect. What is the use of perfect highs when you don't understand anything. Don't get me wrong. Di Stefano's voice is in great shape and by no means he loses to Pavarotti in the amount Pavarotti loses to him in all other aspects.

This is one of the rare complete exemplars of the "Golden Age" of opera making and singing. Beautifully sung, so profound in every nuance and full of nuances, so nicely conducted through a beautiful and really dramatic end.

An amazing achievement

Verdi's Requiem, like many of his later works, is extremely demanding when comes to bringing it to life in full strength. You need powerful orchestral and choral forces, extremely potent and expressive voices and of course a really insightful conductor capable of holding all together and making the drama and meanings come to life.

Fortunately it looks that everyone who tried approaching this masterpiece tried its best. But among them are the real achievers. And I will mention only the three of them I think really need to be mentioned in this context: first, at least historically, is Da Sabata. I am one of not so many lucky listeners who has his edition featuring Maria Caniglia. And that is an achievement approaching perfection. The next one is Toscanini with his incisiveness which works its powers all the way through his 1951 live recording. And then is the recording at hand here.

This is one of the recordings documenting the glorious (so unfortunately dawned) era of music making at its highest. It shouldn't come as a surprise that behind it one finds Carlo Maria Giulini. This is just one of his greatest achievements that are landmarking the history of music. The attention to detail, so insightful choice of tempo, the ability of conducting music so flawlessly to its highs and deep downs, the ability of using musical powers under his command to their very best and not least the profound understanding of the musical score are shown here in their full power. It grabs you from the beginning and you will find yourself under its powers ever after.

The choir might be the best you find on disc. It is highly responsive and produces some of the greatest moments of this piece. Along comes the Philarhmonia Orchestra in beautiful sound and very attentive and responsive to its masterful conductor.

The soloists are as much as you could wish for. Involved, musically perfect, rendering the amount of human drama that this piece comprises, the true voices of humanity you might say. I am especially delighted with Christa Ludwig which seems a different singer from her recording under Karajan (recording available from Deutsche Grammophone) and Ghiaurov who displays such a sensibility along with his powerful voice. Damme Schwartzkopf and Gedda are also very good although I couldn't stop myself dreaming at Franco Corelli, giving the amazing musical power unleashed here (you can hear him in the recording of the Verdi requiem under Mehta).

As one of the other reviewers mentioned if you want only one recording of Verdi's Requiem you have to have this one. You will hear inner voices inside the orchestra, choir and soloists you will not hear anywhere else. The only real threat to this recording is Da Sabata's which is set back just by a poorer sound which makes it harder to come out with the greatest effect.

Signore e signori, Il Barbiere!

What a recording this is! Witty, funny, grabs you, puts you in the middle of the action and doesn't let you go all the way to the end. You will find yourself cheering happily when it is over and you will think that these are the actual characters coming all the way from Seville to sing for you.

Everybody is in excellent shape but the real difference is made by the unity and the flawless unfolding of the intrigue. Every single role is convincing and consistent throughout the opera, the orchestra plays beautifully and supports with such energy and humor the voices. Callas is in perfect mood and in excellent voice. Her Rosina is the best available. Listen to "Una voce pocco fa" and be amazed by all the nuances you can find there. Mr. Gobbi is again the voice and the actor in one of his best recorded performances. I must agree with one of the reviewers in saying that his Figaro is the best on disc. He displays too a very beautiful voice and an amazing characterization of Figaro. Their duet in the first act is a glorious moment of recorded opera. They tell so much besides what their words are actually communicating. The rest of the cast comes nearly as equals and everybody seemed to understand the in the same way what this opera is about and what each and all of them have to say in it.

All in all it is a great recording. Great music making, solid and expressive characters, good and entertaining drama, good laughs everything the Barbiere should be in my opinion.

An intriguing Traviata

When I first saw this recording in a DG catalog I didn't pay much attention to it. In my youthful ignorance I thought that Cotrubas cannot be a serious contender for this much demanding and loved opera role. Time went by I get to know Mr. Kleiber accomplishments quite well and here I am listening to his Traviata.

The opening is absolutely superb in its quiet intensity but then things get pretty "energetic" (a Kleiber trademark). One would say that there is no way Traviata can face such an energetic approach. You will destroy everything that this opera is about. And yet I am stroke again by the artistic intelligence Mr. Kleiber displays in all his recordings. The intelligence that brings to light all dark corners of a certain composition works its way again and maybe even better than in some of his orchestral recordings (Brahms' 4th is the first that comes to mind). All the nuances o this drama are in place very well-balanced. The music really flows on the evolution of the characters in the most agreeable way.

The leading characters are also worthy to mention. For me first of all comes Domingo which is in very beautiful voice but more involved and convincing than he usually is. A really strong and enjoyable performance (I don't think that Pavarotti is an option for Alfredo). Milnes is indeed a very beautiful Germont. Beautiful voice, nice approach to the character. I especially liked that I didn't find him so "pushy" as some of the other singers feel that have to approach this role. The only one better on disc I can think of is Nicolae Herlea. Last but not least comes Cotrubas. Well, she hasn't the biggest of voices nor the most beautiful one, and yet she is so good of a Violeta. Of all Violetas she is the only one that reminded me of Dumas' character description. She sings well (I think that the technique is just the one that saves her perfomance) she is fragile and so helpless in defeating her fate. I must admit that I am addicted to the power Callas brings to the character but this is a very good and full of meaning performance.

I let the sound for the end as is the least important aspect. But here this recording stands out from the crowd adding a (to) much praised nowadays aspect to the recording.

All in all if you love Verdi's La traviata you can't be without this recording.

Majestic power

Brahms piano concertos are, in my opinion, incredibly difficult to turn out right. You need a pianist and a director that can produce powerful, yet sensitive sound that can express the deepest feeling and the most Cartesian of ideas. That could sound like an almost impossible task. Except for this recording. Both musicians are capable of great insights into both ideas and feelings, can produce miraculous sounds from their instruments and have an impeccable sense of what is right in terms of music.

Arrau plays the piano score with majestic power, with a flawless logic both musical and ideatic and lights the darkest corners of a score that is anything but simple. Giulini comes along sharing the same virtues and helps building a musical partnership of the highest spirituality. Actually, this is where I think they surpass their best competition, i.e. Gilels/Jochum: spirituality. The other set also displays a tremendous sound both in piano and orchestra, a beautiful Brahmsian style, a lot of inner logic and sheer intelligence. Yet Arrau and Giulini are capable of understanding and expressing more from what lies beyond. Not to mention the incredible capability of Arrau to produce symphonic tonalities from his instrument.

All in all, even if not acknowledged as such, I think we stay in front of the greatest of achievements, at least as far as the first piano concerto recordings are concerned and I doubt that you can find better. I searched for 10 years and visited the most spoke about and respected "places", but none is quite like this.