
On balance, this is probably the finest, most consistent Schubert cycle available. It has flown “under the radar” for many years now, owing to the
The Germans are always good for a disaster concert; perhaps it’s because German Romantic music is so heavy and generally humorless, even when it pretends
Giuseppe Sinopoli gets this performance off to a fresh, lively start, with typically lovely playing from his Dresden forces. The remainder of the first movement
Volume 2 of EMI’s comprehensive Herbert von Karajan centenary edition gathers virtually all of the conductor’s operatic and vocal output for the label in one
Deutsche Grammophon’s Carlos Kleiber tribute winningly pairs two of the late conductor’s finest performances. The Schubert is unique for its classical drive, contour, and phrasing,
This is without question the best recording that Hélène Grimaud has made for DG. The opening “Emperor” gushes forth like a sparkling fountain, at a
Rolando Villazón and Anna Netrebko, opera’s “golden couple” (or is it “dream team?”), have just released their first CD of duets. Oddly, in the DVDs
This performance, captured on February 14, 1994 in Dresden’s Kreuzkirche, commemorates the February 13, 1945 bombing of Dresden. The interpretation is so compelling, and so
No commercially available studio versions of Die Meistersinger in stereo were available until Herbert von Karajan’s 1970 Dresden performance, a “Great Recording of the Century”
Peter Schreier brought a lifetime’s experience as a singer to the conductor’s rostrum in his accounts of Mozart’s Requiem, Coronation Mass, and motet Ave verum