Mon, Fri 星期一、五 5:30pm
Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: Jerome Hoberman
Erich Wolfgang Korngold was at the height of his fame and technical mastery by the time he began work on his fourth opera in 1923. Prominent opera houses clamored to stage his works, and the Viennese premiere of Das Wunder der Heliane (‘The Miracle of Heliane’) featured Lotte Lehmann among its star cast. Its story is one of the redemptive power of love over injustice and adversity, expressed in music that is richly impressionistic and intensely dramatic. Korngold was criticized for resisting the tide of modernist atonality in this opulent score, but its symbolism and compelling romantic atmosphere can be appreciated today more than ever. This Freiburg Opera production has a strong cast topped by soprano Annemarie Kremer, one of the most successful singers in the lyric dramatic soprano repertoire. Award-winning baritone Aris Argiris has established an international career, performing regularly at the world’s most prestigious opera houses.
Critic: Dennis Wu
Ronald Brautigam has recorded more than 60 discs for BIS, including the complete solo keyboard music by Haydn, Mozart and Beethoven on the fortepiano. But his first releases on the label, in the mid-1990s, were Mendelssohn’s concertante works for piano and orchestra, on modern piano. When he now returns to these scores, it is on a copy of a Pleyel grand piano from 1830 – the year before Mendelssohn composed his Piano Concerto No. 1 in G minor. And the orchestra supporting him is the period band Die Kölner Akademie under Michael Alexander Willens, the same team that he has already collaborated with for an acclaimed 11-disc survey of Mozart’s keyboard concertos. The historically informed accompaniments and the clarity of the solo instrument contribute to performances of a great charm and freshness, shedding a new light on these works. Composed between 1831 and 1838, they were all written primarily for Mendelssohn’s own use as a touring concert pianist, but soon entered the repertoire of many other pianists – especially the G minor concerto, which was extremely popular in the composer’s own time.