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Your guide to classical music online
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Your guide to classical music online
Valery Gergiev turns in a generally fine Symphonie fantastique, one that really heats up in the last two movements, as any good performance must. The
This abbreviated (by about 25 minutes), sung-in-English, live performance of Cellini was taped in Boston in 1975; it’s primarily (possibly solely) of interest to fans
Jennie Tourel had a lovely voice, though it no longer seems as outstanding as it once did given the plethora of mezzos with which we
Igor Markevitch’s justly lauded Tchaikovsky symphony recordings give the impression of an exceptionally disciplined, no-nonsense kind of conductor who pushed himself as well as his
This is another of Berlioz’s problem children. First composed with spoken dialogue, it was rejected by the Opéra-Comique; Berlioz revised it and the Paris Opera
This isn’t a great Fantastique, though it has its moments. Of course, at one point in his career Thomas Beecham probably was an ideal interpreter
Berlioz’s music for tenor is not only varied from light-lyric to heroic, it’s also ungraciously written: high notes pop up out of nowhere; tessitura remains
Berlioz would not have liked this performance. He was a conductor in the “classical” vein, who favored steady speeds and clean rhythms. Eschenbach, on the
I was considerably less than enthusiastic about the last Maggie Teyte reissue to come my way–the Teyte volume in Decca’s The Singers series (type Q4790
Berlioz’s Symphonie fantastique ought to suit Rudolf Kempe to a tee, and he does some things that are marvelous: the way he floats the second-movement
