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Rachmaninov Etudes-Tableaux, etc. Nareh Arghamanyan PentaTone SACD

These days there is almost an embarrassment of riches where phenomenally gifted young artists are concerned. They burst upon the music scene blessed with astonishing technical prowess and with a fistful of awards from international competitions, so any newcomer has to be the possessor of extra special qualities to make any impression amongst a bewildering array of talent. On the evidence of the new PentaTone SACD the 23 year-old pianist Nareh Arghamanyan has these qualities in abundance. She was born on January 21, 1989, in Armenia, to a professional family – her father is a lawyer and her mother a textile engineer. At the tender age of eight, her parents enrolled her at the Tchaikovsky Music School for Gifted Children in Yerevan, where she studied with Alexander Gurgenov. Her career blossomed in 2008 when she won the Montreal International Music Competition and currently she continues her studies with Arie Vardi in Hannover. She has made a CD for the Analekta label, but this is her first for PentaTone with whom she has signed an exclusive contract.  On this disc Nareh Arghamanyan has chosen compositions that span three periods of Rachmaninov’s creative life from the early ‘Morceaux de Fantasie’ Op.3 (1892), the first set of Etudes-Tableaux Op.33 (1911) and finally the ‘Variations on a Theme of Corelli’ Op.42 (1931). This is a taxing programme, but one that allows her to display her fine musicianship to the full. Of the early pieces, the famous ‘Prelude in C-sharp minor’ is performed with a wide gradation of dynamics and controlled power that fully communicates the melodrama inherent this piece whilst the wistful gentleness of the ‘Mélodie’ Op 3 No.3 contrasts with the coruscating account of the capricious ‘Polichinelle’. She seems completely unfazed by the virtuoso challenges of the ‘Etudes-Tableaux’ that follow and which she delivers with great sensitivity and a maturity that her age belies. A quite riveting and wonderfully nuanced performance of Rachmaninov’s masterly Corelli Variations completes this marvellous disc.
The packaging also includes a DVD on which we see Nareh Arghamanyan playing the C sharp minor Prelude and the first seven of the Corelli variations. The rest of the DVD consists of an interview in which the pianist speaks fluently and unaffectedly about her early life, training and thoughts about the music that she performs on this recital to the interviewer Hans Visser who asks such searching questions as “I’m sure you have an i-pod?”Jean-Marie Geijsen’s resplendent recording captures the richness and depth of Arghamanyan’s Steinway piano in the excellent acoustic of the Concertboerderij Valthermond, while for those listening in 5.0 surround sound a further realistic bloom is imparted to the sonics by the hall’s ambience. Thoughtful liner notes by the pianist herself are also most welcome.
This is one of the most enjoyable Rachmaninov recitals that I have heard for many a year, and one hopes that it a precursor to future recordings from this exciting and exceptionally talented young pianist.
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Strauss: ‘Le Bougeois Gentilhomme’ /Songs, Musikkollegium, Winterthur, Douglas Boyd MDG SACD
The ill-fated project  by Hugo von Hofmannsthal and Richard Strauss to pair Molière’s play ‘Le Bougeois Gentilhomme’ with an opera seria based on the Greek legend of  Ariadne abandoned on the island of Naxos was an unmitigated disaster at its première in in 1912, but it did eventually yield the final form of the  delightful opera ‘Ariadne auf Naxos’ that we know today; and in addition  the delectable incidental music that Strauss composed for use throughout  Molière’s play. Originally this incidental music comprised a total of     sixteen numbers, including some vocal ones. However, in 1918 Strauss     assembled a 35-minute purely instrumental suite from the full score, and it     is this that is the first item on this new recording from MDG.The performance by Musikkollegium, Winterthur conducted by Douglas Boyd is   efficient rather than characterful and lacks some of the charm and individuality essential for a full realization of Strauss’s witty music with its engaging   chamber music textures. The ‘Entrance and Dance of the Tailors’ (tr.4) is  unusually pedestrian and the two Lully derived movements (trs. 5 and 6) are  also rather ponderous. The limitations of Boyd’s performance becomes most apparent when one turns to Rudolf Kempe’s 1971 CD version with the Dresden  Staatskapelle. Here the Suite really comes to life, while the recording wears its years lightly. On SACD Paavo Järvi (Pentatone) and Fritz Reiner   (Living Stereo)currently provide the only alternatives to Boyd, though it  should be noted that Reiner omits the two Lully movements altogether.

The rest of the disc is taken up by Strauss orchestral songs sung by the     Swedish-born soprano Lisa Larsson. A glance at her biography shows that her     career to date has been mainly, but not exclusively, confined to the     Baroque repertoire where she has had great success singing roles in the     operas of Handel and Mozart. Her voice is certainly attractive – bright,     steady and clear – and one can envisage her being a wonderful Zebinetta in     ‘Ariadne auf Naxos’. It is unfortunate that at this stage in her career she     has decided to tackle the ‘Vier Letzte Lieder’. These four songs represent     one of the pinnacles of the soprano repertoire and inevitably comparisons     will be drawn with the many great interpretations of the past that include     those by Lisa della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Jessye     Norman and Lucia Popp. The ecstatic vocal quality and refulgent tone     provided by many of the finest interpreters of these wonderful songs is     lacking in Lisa Larsson’s performance. The accompaniment by Douglas Boyd     and the Musikkollegium, Winterthur is workmanlike and generally brisk, but     one misses the sumptuous orchestral richness found in the majority of     alternative versions on disc. Sadly Larsson’s voice is also not especially     suited to the three of Strauss’s most well-known songs that she has     included in her programme. She is at her best in ‘Wiegenlied’ which she     sings with an appealing tenderness over the orchestra’s sympathetic     accompaniment, but she sounds slightly uncomfortable and over-parted in     ‘Zueignung’ which lacks the radiance found on many of the countless     recordings of this song. This latter song, incidentally, is not performed     in the orchestration by Strauss but that by Robert Heger, though there is     no mention of this fact in the liner notes. The third song, ‘Morgen’ has     inexplicably been placed after the ‘Vier letzte Lieder’ as if it were     something of an after-thought. It is doubtful if many listener’s to this  SACD would wish to hear this song immediately after the sublime postlude of  ‘Im Abendrot’ .

MDG’s recording is clean sounding and quite well-balanced in the rather     anonymous acoustic of the Stadhaus, Winterthur. There are, however, some     audible thumps to be heard at times – possibly from the podium. The     surround channels provide surprisingly little ambience.

All in all a rather disappointing release.



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STRAUSS: ELEKTRA Jeanne-Michèle Charbonnet/LSO/Gergiev/LSO LIVE SACD  This is the second recording of Richard Strauss’s Elektra to appear in the SACD format. The first was released in 2006 on the Profil label Clomiphene pills order and was notable for the especially strong casting of the main roles, the thrilling conducting of Semyon Bychkov (always impressive in Strauss) and the imaginative use of multi-channel recording. This LSO Live version stems from performances and, judging by the photographs in the liner notes, rehearsals given in the Barbican in January 2010. Continue reading

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Vivaldi: La Cetra – Rachel Podger, Holland Baroque SocietyWhen back in 2003 Rachel Podger’s recording of Vivaldi’s 12 violin concertos Op.4 ‘La Stravaganza’ Price of imitrex injection was released it was universally acclaimed and quickly went on to garner numerous awards from many sections of the music press including Gramophone, Stereophile and The Absolute Sound as well as winning a Diapason d’Or. It is also interesting to note that even on more than one hundred people have recommended that recording. In the intervening years Rachel Podger has widened her recorded repertoire to make further highly regarded recordings of works by Bach, Haydn and Mozart, but she has now made a triumphant return to Vivaldi with this wonderful set of the composer’s 12 Violin Concertos Op.9 known as ‘La Cetra’ (“The Lyre”). Continue reading

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This month is the 50th anniversary of the first performance of Britten’s War Requiem that took place at the consecration the rebuilt Coventry cathedral on 30th May 1962. When the composer’s own interpretation of his most ambitious work was enshrined by Decca the following year, it became a unique document that has never been absent from the catalogue. Since then the work has been championed by many conductors, convinced of the emotional power of this solemn and elegiac masterpiece to move audiences, and umpteen fine recordings have followed. Continue reading

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DEBUSSY: ORCHESTRAL WORKS Royal Scottish National Orchestra/Stéphane Denève CHANDOS SACD

For Stéphane Denève, the out-going musical director of the Royal Scottish National Orchestra, recording this collection of Debussy’s orchestral works has obviously been a labour of love. Denève’s seven year contract with the RSNO ends this season when he becomes the chief conductor of the Stuttgart Radio Symphony Orchestra. In the liner notes accompanying this set Denève writes of his long admiration for Debussy’s music and provides illuminating insights regarding his own approach to performing it. He stresses the need for clarity, energy and rhythmic precision and eschews the idea of any impressionistic ‘blur’. How successfully he has achieved these aims is self-evident by auditioning any section of the nine compositions on these discs. Continue reading

Scintillating Saint-Saens from Chandos

The Royal Scottish National Orchestra and Neeme Järvi, their indefatigable Conductor Laureate, continue their fruitful relationship for Chandos with a generously filled SACD (77′ 40”) of familiar and unfamiliar orchestral works by Saint-Saëns. Those who enjoyed the recent survey of the composer’s ballet music on Melba will find this new disc very much to their taste.
The centre pieces of this collection are the four symphonic poems that Saint-Saëns composed between 1872 and 1877 – performed on this SACD in the order of their composition. Of these only ‘Le Rouet d’Omphale’ and ‘Danse macabre’ could be regarded as at all familiar to modern audiences, but regrettably rarely appear on concert programmes today. Järvi and his orchestra lavish great care on each of these fastidiously crafted pieces. The playing in ‘Le Rouet d’Omphale’ has a pleasing Gallic delicacy and elegance, while Järvi builds ‘Phaeton’ excitingly to the climactic moment when Zeus hurls his thunderbolt – captured here with splendid impact by the vivid recording. ‘Danse macabre’ has terrific drive and benefits from the feisty violin solos of the RSNO’s leader Maya Iwabuchi. The fourth and final one of these symphonic poems, ‘La Jeunesse d’Hercule’, is also the longest and most ambitious. Perhaps its subject – the choice for Hercules between the paths of pleasure and virtue – is not quite as suited to musical depiction as the other less philosophically based symphonic poems, but Saint-Saëns manages to compile a beguiling piece of varied charms and one that allows appreciation of some ravishing playing from the RSNO strings.
The disc opens with a thrillingly frenetic account of the ‘Danse bacchanale’ from the third Act of Saint-Saëns’ opera ‘Samson et Dalila’ in which Järvi and the players of the RSNO revel in both the music’s oriental barbarism as well as its sensuality. Spirited performances of the well-known ‘Marche militaire française’ and the delicious overture to the composer’s light opera ‘La Princesse jaune’ follow before we reach the three rarities that complete the programme.
Saint-Saëns described ‘Une nuit a Lisbonne’ as ‘a little barcarolle’. It was composed in 1880 and dedicated to King Luiz of Portugal. Scored for small orchestra and lasting under four minutes it is a captivating miniature, especially when played as affectionately as here.
The Concert Overture ‘Spartacus’ dates from 1863 though the composer never published it and it languished forgotten until the 1990s. It is a fiery work with a flavour of one of Liszt’s more flamboyant symphonic poems – just the sort of piece that brings out the best in Järvi’s conducting style. The same is true of the final work on the disc – the ‘Marche du couronnement’.This splendid march, written for the coronation of Edward VII in 1902, is given a terrific performance full of swagger, appropriate Edwardian pomp and crowned with clangorous tubular bells.
The 24-bit/96 kHz 5.0 channel surround sound recording matches the high standard set on a number of recent Chandos recordings made in the ample acoustic of the Royal Concert Hall, Glasgow. It delivers a convincing orchestral image, one that also graphically conveys the acoustic signature of the recording venue. Very detailed and informative liner notes by Roger Nichols are also most welcome.
Warmly recommended.
(This review originally appeared on

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7 Classic Operas/Various Directors/Warner Vision

To say this package of seven masterpieces of the operatic repertoire is tempting would be something of an understatement – particularly as (largely speaking) these are the best performances available of the individual works. A more recent production of Britten’s Peter Grimes has recently appeared on DVD (in anomorphic widescreen), but the definitive Jon Vickers/Colin Davis performance included here absolutely obliterates the later version in intensity. And we have a delectable set of Richard Strauss’ Arabella, meltingly sung by the American soprano Ashley Putnam, and a powerful version of Janacek’s The Makropolous Case, while Puccini’s La Fanciulla del West receives a matchless rendering by Placido Domingo and Carol Neblett. More Puccini delights can be found in Manon Lescaut with Kiri Te Kanawa. Johann Strauss’ Die Fledermaus is more problematic (with some graceless singing), but Offenbach’s Tales of Hoffmann is a delight. The discs are mostly academy ratio (rather than widescreen), but this is still a treasure trove of operatic delights.