‘With music by John Rutter and performances by the Black Dyke Band, it’s catnip to both Rutter fans and brass band lovers, whose legions alone would probably be strong enough to put the album on the charts. …There are three choral pieces, and the Sheffield Philharmonic Choir is another draw, with just the proper warmth for this kind of seasonal outing. Ultimately, though, the main draw is Rutter’s music.’ – AllMusic.com

‘Pirgu sings with heroic tone and a truly overwhelming intensity. This is a comprehensive recital with a lot of brilliant heroic singing and some which is subtle and lyrical, too.’ – MusicWeb International

‘The interpretation by Tetzlaff/Buntrock/Tetzlaff and Vogt aligns with the mastery displayed by Brahms in one of his greatest works.’ – Ritmo ★★★★★

‘For any lovers of Prokofiev this is worth exploring in this excellent version and I welcome its reissue.’ – Classical Music Sentinel

This concert recording from Mozart Week 2024 focuses on the horn quintets of Wolfgang Amadeus Mozart and Anton Reicha, two major works representing a genre that has rarely been explored. After the Prague-born composer, music theorist and pedagogue Anton Reicha briefly tried to establish himself in Paris in 1799, he finally settled in the French metropolis in 1808. The Horn Quintet in E major, Op. 106 is one of his last compositions. It’s paired here with Mozart’s Rondo K.514 and the Horn Quintet K.407. This recording is of the Baborák Ensemble’s performance at this year’s Mozart Week in Salzburg.

‘Kryvopust’s own original work, the almost ten-minutes-long Fantasia, uses, I think, at least four carol melodies, including Mykola Leontovych’s well known Carol of the Bells. All these extravagant, captivating orchestrations are sheer joy, played with exuberance by Ivakhiv and the orchestra led by Serhii Khorovets.’ – MusicWeb International

‘…the performances here are delivered with tremendous zip and pizazz, not only by the supremely athletic Dupree but also by his favourite drummer Meinhard ‘Obi’ Jenne and the SWR Big Band and Symphony Orchestra.’ – Gramophone

‘The Gould Piano Trio has chosen the first and last trio for the beginning of its recordings of these works. With eloquent enthusiasm and finely tuned interaction, they demonstrate the cohesion they have developed over a quarter of a century. They give the pieces recorded here exactly the right amount of conscientiousness in their performance that emphasizes the qualities and charm of the two trios, but also does not assign them unnecessary importance.’ – Pizzicato

‘Markham’s playing is light and colourful, with an agogic variability and dynamic nuances that enliven the polonaises and make them extremely attractive. …His recording is by far the best available of this repertoire.’ – Pizzicato

‘…Poschner offers us a workable overview of Bruckner’s evolving style. I like his gutsy performances a great deal…’ – Gramophone

‘Hardly anyone else has looked deeper into the unbelievable abysses of Schubert’s late chamber music masterpieces than Christian Tetzlaff, Tanja Tetzlaff and Lars Vogt. These are Lars Vogt’s last trio recordings, and listening to the way he explores Schubert’s music with an almost shy subtlety and makes it resound, often even blossom joyfully, one can only marvel.’ – ICMA

Christmas is perhaps the time when most singing can be heard, both in the town and country. The musicologist Marius Schneider affirmed this when he wrote: ‘God hungers for songs.’ So it is that the time which celebrates the symbolic birth of the Lord is a great occasion for music, even for people who may have no direct religious beliefs. With this 5-CD set, Capriccio presents a total of 100 Classical Christmas titles, sung by some of the world’s most famous choirs and soloists, ranging from J. S. Bach’s lofty Christmas Oratorio to simple songs of the countryside, including the most famous of all, Silent Night, Holy Night.

‘The Kyjiw Virtuosi from are given their cohesion in the suite by Dmitry Yablonsky, while John Warner is responsible for conducting the violin concerto. With their harmonically and technically fine-tuned playing, they make a significant contribution to shaping the message and the atmospheric presentation of the works. Violinist Marc Bouchkov not only performs the violin concerto with the utmost naturalness, but also develops the solo with ease and finesse…’ – Pizzicato

‘[The music is] like a cross between the rhythmic edge and incisiveness of Béla Bartók and the motif driven development of his compatriot Andrzej Panufnik. This combination of styles and techniques is pushed to the limit in his riveting Overture from 1948. His Symphonic Études for piano and orchestra (a piano concerto if not by name) blends moments of atmospheric contemplation with moments of sheer exuberance, all well manifested by pianist Beata Bilinska.’ – Classical Music Sentinel

The timeless elegance of Johann Strauss II’s most beloved waltzes performed by the renowned Strauss Festival Orchestra under the masterful direction of conductor Ondrej Lenárd captures the magic and sophistication of the Viennese waltz tradition. Featuring iconic works such as the Emperor Waltz, Voices of Spring, Treasure Waltz, and other celebrated pieces, this collection invites listeners on a journey through the golden age of classical dance music.

This album brings together an exquisite selection of French piano concertos, showcasing the charm, lyricism, and unique character of French Romantic and early 20th-century music. Composers such as Jules Massenet, Albert Roussel, Cécile Chaminade, and Édouard Lalo are represented, highlighting their contributions to the piano concerto repertoire.

‘For Marangoni and Grazioli, deciphering these pages in a world premiere does not seem to have been an obstacle but rather a source of wonder and discovery. The listener travels through cascades of sparkling and sinuous lights; at times, a subtle and always accessible humor peeks through, never overwhelming, certainly supported by a baton in harmony and the participation of an orchestra that plays with the same engagement as the soloist. The result is 80 impeccable minutes, where – to put it in French – j’ai trouvé mon Bonheur.’ – Musica

‘All his [Dario Salvi] albums maintain a high standard of performance. And all benefit from innovative programming. The Janacek Philharmonic Ostrava is in fine form here. Under Salvi’s direction, they play with a light-hearted elegance fitting the fairy operas. And they can also deliver some dramatic thundering when necessary. Another fine addition to this edition.’ – WTJU

‘As Hérode, Etienne Dupuis is outstanding… Dupuis sounds amazing in his “Vision fugitive,” a voice of honey; and how unexpected is the sound of a saxophone in this aria! The mezzo Clémenin Margaine is fabulously rich and emotive (we need something of a Verdian mezzo in this role), particularly in he third act duet with Marko Mimico’s dark-hued Phanuel (who is authoritative and commanding throughout).’ – Classical Explorer

‘Naxos now presents an entire CD of [Martucci’s] piano miniatures, many of which have a very playful and cheeky character. Matteo Generani’s fresh and colourful interpretations allow the 17 pieces to develop their charm.’ – Pizzicato

‘Scene 1 is a boat in a harbour where Maria (Franceska Dotto) flirts with the sailors in a carefree sort of way. In Scene 2 we are in front of the Temple in Jerusalem and Dotto sings with more gravity; somewhat darkening her voice. In the last scene she has become, convincingly, an old woman with a significant change in body language and vocal production. It’s a very fine performance.’ – operaramblings

Initially a failure when first performed in London in 1750, Theodora has proved to be one of Handel’s most enduring and compassionate masterpieces – a work of introspective depth about the redemptive power of tolerance. Theodora’s determination to die in defence of her religious freedom offers her the promise of eternal salvation. In this acclaimed Viennese production, award-winning stage director Stefan Herheim contrasts Theodora’s self-sacrifice with the lack of spiritual direction of our own times. La Folia Barockorchester and the Arnold Schoenberg Chor are conducted by the acclaimed countertenor and Handel specialist Bejun Mehta.

‘Lauri Vasar is a sympathetic Sharpless who comes across as a very human being and sings with great beauty. Hongni Wu is perhaps the best Suzuki I have seen. She has a lovely darkish mezzo and is a terrific actor. It’s a performance that makes Suzuki much more than the after thought she sometimes seems.’ – operaramblings

‘When it comes to Nutcrackers, there is simply nothing to beat it.’ – The Times

‘…lavish production values and strong casting ensure that this is a highly enjoyable treat. Two of the world’s finest dancers – Marianela Nuñez and Vadim Muntagirov – take the leading roles and are very well supported by the rest of the Covent Garden company in an expertly filmed recording.’ – MusicWeb International

‘Fresh and reinvigorated – Nutcrackers come and Nutcrackers go but the Royal Ballet’s version is a hardy perennial.’ – The Stage

‘There really are some very good solo performances here. I would single out Vanessa Waldhart as the Daughter of Zion. She sings in a simple but stylish and beautiful way… Robert Sellier is the Evangelist and is utterly convincing in his, I suppose, spiritual journey from cave man to witness to something akin to a Megachurch shyster. All this based on a solid and attractive tenor voice.’ – operaramblings

‘Osipova was riveting throughout… [Golding] demonstrates real brilliance and prowess.’ – Swan Lake – The New York Times

‘Kenneth MacMillan’s Manon is one of the jewels in the company’s crown and this new release offers us the opportunity to watch superstar Natalia Osipova’s intense interpretation as she takes on the complex and multi-faceted title role. She is very well supported by her partner Reece Clarke and a mixture of experienced and up-and-coming company members. This immediately becomes the top Manon recommendation.’ – MusicWeb International

‘A plethora of shots and surprises’ – Figaroscope (translated from French)