2020 Gramophone Awards – And The Winners Are…

This is a follow-up to the two part article I’ve written discussing some of the albums that were nominated for the 2020 Gramophone awards, that you can find here and here.

You’ll find the latest edition of the Gramophone podcast (that is usually worth a listen in any case) here a very passionate discussion of the winning albums, check it out.

Chamber: Veress & Bartok

I didn’t have time to review any chamber works of the winning category, and I truly cannot relate to the winning album, by Sandor Veress, and Bartok. So sharing this winner truly just for your information. As mentioned previously, I’m typically lost with most of the music composed in the 20th century.

Choral: Suzuki’s St Matthew Passion

Bach: St Matthew Passion Bach Collegium Japan Masaaki Suzuki BIS 2020 24/96

While I’m still struggling a bit with the slow first movement, I gave this another complete listen the other day and must admit it is a spectacular performance.

Concerto: Chopin’s concertos by Benjamin Grosvenor

As written previously, I wholeheartedly agree with this choice. I’m a huge fan of Grosvenor, and this version is up there with the very top of Zimerman and Argerich.

Contemporary: Thomas Adès Piano Concerto & Totentanz

Again, mentioning this for completeness only, you can guess if I’m struggling with 20th century music how my brain is coping with contemporary stuff.

Early Music: Gesualdo Madrigali by Les Arts Florissants

Gesualdo Madrigali Libri Primo & Secondo Les Arts Florissants Paul Agnew Harmonia Mundi 2020 24/96

While I’m really lost in the 20th and 21st century, the 16th century music is something I really admire, just don’t get to listen to it that much.

But this is an album that I’ll definitely add to my collection, as I’m a big fan of Les Arts Florissants, and Gesualdo’s madrigals are truly beautiful. Recommended.

Instrumental: Igor Levit’s Beethoven Cycle

Igor Levit Beethoven Complete Piano Sonatas Sony Classical 24/96 2019

A worthy winner. This complete cycle is insightful from no. 1 all the way to no. 32, and every classical music lover should check this out. Levit’s tempi are sometimes somewhat extreme, but never for the sake of it, always with a very clear sense of purpose.

This is probably my favorite of the entire list.

Opera: Händel’s Aggrippina – Joyce DiDonato

I had completely missed this album. My bad, just look at this lineup of fantastic baroque singers. I’ll definitely have to add this to my collection. You can really count on Erato to still produce fantastic opera recordings.

Orchestral: Weinberg Symphonies 2 & 21 – Mirga Gražinytė-Tyla ​

Here comes my 20th century music dilemma again. I’m still barely getting my feet wet with Shostakovich (and again, only occasionally), so I’m not going to add any value with my opinion here. But if you’re into it, the same album also won the “Choc de l’année” by French magazine Classica, so Gražinytė-Tyla must have done something right.

Recital: Sandrine Piau – Si j’ai aimé

Another album I had missed. It is a collection of not that well known French songs with orchestra, mostly from the late 19th century.

Sandrine Piau is a fantastic singer, and this is definitely something I’ll add to my playlist. Not a must have, but a nice discovery off the beaten track.

Solo Vocal: Janacek: The Diary Of One Who Disappeared

Unfortunately, due to Hyperion’s strict no streaming policy I have no way of checking this out beyond the snippets I can check out on Hyperion’s website. So nothing to add from my side here, just mentioning it for completeness.

So, what do you think? Were the right winners selected?

And on an unrelated note, am I silly to ignore the 20th and 21st century music?

My Reflections on the 2020 Gramophone Awards – Part II – Choral, Instrumental & Orchestral

Usually, I try to do one blog post per section (Orchestral, Piano, etc.), at least for those that I do care about. This time unfortunately my day job is keeping me quite busy and I wasn’t able to listen to all albums shortlisted by Gramophone, so this will just be a “best of” of albums from some of the nominated albums from the different categories.

Note that this is the continuation from part I that I published last week, where I had a look at the “Concerto” category. Today I’ll cover “Choral”, “Instrumental”, and “Orchestral”.

I’m following the order that Gramophone uses in their Gramophone Awards shortlist special edition.

Let’s start with the Choral section, and two recent recordings of Bach’s masterpieces.

Bach: St John’s Passion – Philippe Herreweghe – Collegium Vocale Gent (Phi 2020)

Johann Sebastian Bach: Johannes Passion Philippe Herreweghe Collegium Vocale Ghent Phi 2020 24/96

I must admit I only learned about this release from the Gramophone awards issue, although it was already released in February. What a miss! I do have already a favourite recording of the St John passion, as performed by John Butt and the Dunedin Consort, I have praised Philippe Pierlot’s excellent reading here, I also have Herreweghe’s previous version from 2001, as well as versions from Suzuki, and Gardiner (the usual suspects for great baroque vocal works).

But this new release is truly outstanding, and could potentially become my favorite, a true 5 star recording.

Bach: St Matthew Passion – Masaaki Suzuki – Bach Collegium Japan (BIS 2020)

Bach: St Matthew Passion Bach Collegium Japan Masaaki Suzuki BIS 2020 24/96

So, after the “smaller” passion, there’s also a new release of the majestic St Matthew Passion. I’ve already written about some other fantastic versions (again by the usual bunch of John Butt, one of my 25 Essential Classical Music albums, and the recent recording of John Eliot Gardiner that I was able to attend live), so it wasn’t obvious that I needed yet another version on top of the 7 or 8 others I have in my local library. But I bought it anyhow, given the recommendations by Gramophone, unfortunately without listening to it beforehand.

Don’t get me wrong, this is brilliantly performed, with excellent soloists. So why am just a bit hesitant about it? A simple fact, Suzuki starts the opening chorus “Kommt, Ihr Töchter” is just significantly slower (8:20 compared to John Butt’s 6:38), and it startles me a bit every time. It makes it even more powerful, but it just loses a tiny bit of drive. Check it out before you buy, but it clearly is among the very top performances out there.

Buxtehude: Membra Jesu Nostri – Philippe Ricercar Cosort (Mirare 2019)

Buxtehude Membra Jesu Nostri Ricercar Consort Philippe Pierlot Mirare 2019 (24/96)

I don’t know why this ended up being reviewed by Gramophone only in 2020, you’ll find my 4 star review of March 2019 here.

I really liked the album, and while I still would pick Bach over Buxtehude anytime, Buxtehude’s early baroque is growing on me. It is very much worth discovering.

Beethoven: Complete Piano Sonatas – Igor Levit (Sony 2019)

Igor Levit Beethoven Complete Piano Sonatas Sony Classical 24/96 2019

Yes, absolutely!

The more I discover Levit’s Beethoven cycle, the more I’m impressed. You’ll find my 5 star review here, but in the meantime I’ve again had the pleasure seeing Levit perform a part of the cycle live at the 2020 Lucerne festival (he played the Pathétique and Tempest among others), and have tickets for a live performance of the Hammerklavier that I’m very much looking forward to.

By the way, if you speak German, Levit has done a fantastic podcast, produced by German public radio, where he discusses in-depth every single sonata. Highly recommended.

Brahms: The Final Piano Pieces -Stephen Hough (Hyperion 2020)

Stephen Hough Brahms The Final Piano Pieces Hyperion 2020 24 96

Another album that I fully agree with, as reviewed here (5 stars). This album is all the way up there for me with Volodos and Perahia. Very much worth having.

Tchaikovsky: Symphony No. 6 – Kiril Petrenko (BPO’s own label, 2020)

Berlin Philharmonic Kirill Petrenko Tchaikovsky Symphony No. 6 24/96

Again, an album I already reviewed in 2019 and loved it (5 stars).

In fact, it is the one recording that made me reconsider whether I actually like Tchaikovsky (I’m still on the fence, but getting there).

Very much recommended.

What do you think? I’d love to hear your thoughts on the selection this year.

If you want to buy any of these albums (which I highly recommend you do), you can find the albums here (Qobuz & Hyperion):

Bach St John Passion – Herreweghe

Bach St Matthew Passion – Suzuki

Buxtehude Membra Jesu Nostri – Pierlot

Beethoven Igor Levit

Brahms Stephen Hough

A Beautiful Recording of the Complete Beethoven Trios

Beethoven’s Piano Trios

Beethoven has written a total of 7 “official piano trios (in reality there are some more without opus).

The first three of them are actually officially the first opus he released, his official op. 1, at the age of 25. While he innovated a bit on the form, overall they still are very much in the spirit of Mozart and Haydn, you can clearly hear that the young composer was still trying to find his own style. That said, they are each in itself beautiful gems and truly enjoyable.

No. 4, op. 11, also called “Gassenhauer” (a term that losely translates as “popular song”) is actually my least favorite of these works. It gets it’s nickname from the fact that the third movement is build around variations of a then popular opera aria.

The true masterworks are his three later trios, op. 70 No. 1 and 2, written around the time of the 5th symphony, as well as op. 97, composed at the same time as the 7th symphony. Both op. 70. No. 1 and op. 97 have nicknames. The former is called “Geistertrio” or ghost trio because of the somewhat eerie 2nd movement and stems apparently from Beethoven’s pupil Carl Czerny. The latter is called “Erzherzogtrio“, or Archduke trio, as it was dedicated to Archduke Rudoph of Austria.

So how did I end up discovering this album box? This was triggered by a show on Swiss public radio called Diskothek im 2, a weekly show that does a blind test of 6 version of a classical work with two experts in the studio commenting on the recordings, with one winner eventually emerging. The show was dedicated to op. 70 no. 2, the lesser known of the two (probably because of it’s lack of nicknames. As you can guess, I love the show, as it really forces you to discover a performance without the pre-conceived notions of knowing which artists you prefer.

Beethoven: The Piano Trios – Oliver Schnyder Trio (Sony 2017)

Beethoven: The Piano Trios - Oliver Schnyder Trios - 24/96 - Sony 2017

As you’ve probably guessed, the winner (for both the two experts on the show and for me) was this album box by the Oliver Schnyder Trio.

Schnyder is actually Swiss, and even is one of the experts that gets regularly invited to the show, but given that this was a blind comparison I don’t think any national bias came into play here.

I was personally so convinced by the performance that I immediately purchased the entire box. I’m really happy I did. I previously owned only one complete box, by the French Wanderer Trio (which was also featured on the show and did compete quite nicely), as well as a very good recording of just op. 70 no. 2 and op. 97 by my beloved Isabelle Faust together with the usual Jean-Guihen Queyras and Alexander Melnikov. Given the historic instruments I even recognised this version blindly, but I still preferred Schnyder and his two colleagues.

Schnyder is joined in his trio by two great musicians, Andreas Janke is the concertmaster of the Tonhalle Orchestra in Zurich, and Benjamin Nyfenegger is the deputy solo cellist of the same orchestra.

The playing of all 7 trios is truly top notch. Now, is it perfect? Well I’d argue for op. 1 pretty much yes, same for op. 70 no. 2. For op. 70 no. 1 and op. 96 you may want to add other performances, like the above mentioned Isabelle Faust and Wanderer Trio, the Florestan Trio, or, if you want a flashback to another era, the legendary (but somewhat outdated to my ears) Beaux Arts trio. But this is nitpicking.

The entire box is very much worth having.

My rating: 5 stars

You can find it here (Qobuz)

Beethoven Piano Concerto No. 1 by Martin Helmchen and Andrew Manze- A Positive Surprise

First of all, I feel a bit bad for not posting more regularly in 2020. OK, so my year transitioned very brutally from traveling like crazy to working even crazier hours from home, and obviously the situation of most parts of the world really has plenty of reasons to not have a clean head to think about other things.

But then again, isn’t music even more essential these days? It is a nearly universal source of joy, and I really hope I can share my enjoyment with you, my dear readers.

Beethoven Piano Concertos No. 1 & 4 – Martin Helmchen – Andrew Manze (Alpha 2020)

Does the world need yet another recording of Beethoven’s piano concertos? Almost certainly not.

Beethoven Piano Concertos 1& 4 Martin Heimchen Deutsches Sinfonieorchester Berlin Andrew Manze Alpha 2020 24 96

I’ve already shared how much I like the complete cycle of Leif Ove Andnses with the Mahler Chamber Orchestra, which I also mentioned in my Top 5 Classical albums of 2015.

But that said, when I more or less randomly checked into this recent release, I was very positively surprised how much I liked it.

Both Martin Helmchen and Andrew Manze are artists that aren’t fully in the limelight. Insiders will know them, Helmchen for example for his many beautiful chamber music collaborations, Manze was until recently more known for his HIP influenced baroque performances that he lead with the English Consort. Since 2014 he is conducting the NDR Radiophilharmonie in Hanover, Germany. And obviously, the Deutsche Sinfonieorchester Berlin (DSO) is often eclipsed by the two other amazing orchestras in the same city, the BPO and the Staatskapelle.

But as I’ve written many times before, the best performances don’t necessarily come from the big names and the traditional large orchestras any more. You always need to watch seemingly lesser known ensembles, you more often than not will be positively surprised.

So, why do I like this recording? Well, it is hard to pinpoint a single feature. Probably the best description of what I like is the balance. You can clearly hear that Manze knows his historically informed practice, but at no point this performance becomes bloodless which some “HIP” recordings can clearly get to. You have a very transparent and intimate reading, but never dull.

Helmchen also is a fantastic performer here. I’m a particular fan of his performance of piano concerto no. 1. This work, which clearly sits spot on on the border between the “Wiener Klassik” of Mozart and Haydn, and the following romantic era of Schubert and Schumann, but it is so very Beethoven in so many ways. Helmchen perfectly captures the spirit of this transitional work.

Piano concerto no. 4 is probably my favorite of all 5 piano concertos. The opening, with its very simple solo piano chords, immediately answered by the orchestra, is a totally different beast to the piano concerto no. 1. This work was premiered for the first time in a massive concert that also features the 5th and 6th symphony. This is clearly a Beethoven at the height of his powers, fully emancipated from Haydn and Mozart, creating a style that is so very immediately recognisable as Beethoven, and has never been surpassed since.

Helmchen and Manze also give us a beautiful performance here, but maybe it is for this work that I’d just like to have a tiny bit more of something, what exactly I really don’t know. Maybe I’m still influenced by the very first performance I owned of this work, a recording of the legendary Rudolf Serkin with Seiji Ozawa and the Boston Symphony (a recording that build a much “bigger” Beethoven, not that that is necessarily automatically a good thing). OK, let me stop rambling here. In these situations I’m happy I don’t have to pretend I’m a professional reviewer, but just share my personal impressions.

Overall though this is a recording you really should check out, particularly for what could be close to a perfect first piano concerto.

My rating: 4 stars

You can find it here (Qobuz)

Quatuor Ebène’s truly enjoyable Razumovsky quartets

Beethoven’s String Quartets

I must admit I always found the category of the string quartets one of the most intellectually challenging, but at the same time, also one of the most rewarding categories in classical music.

I, like many started out my classical journey with symphonic music, and, coming from the piano as a (lousy) amateur myself, with solo piano music.

I had an easier access to chamber works with a piano in it, e.g. trios, violin sonatas. But the string quartet really seemed to me the most daunting works to approach.

That said, there are worse works to start your exploration than Beethoven’s Rasumovsky quartets, officially known as op. 59. These are the works of a Beethoven in a great phase, contemporary of the 4th symphony and the violin concerto. These are the first string quartets of the so-called “middle-period”, after the 6 “early” quartets in op. 18. By this time, Beethoven was truly established as a respected master in Vienna, at the age of 35.

By the way, even Beethoven waited for a while until he attacked the string quartets category, with such a strong tradition being established by Haydn and Mozart.

Op. 59 No. 1 and 2 present all the skill set of an accomplished composer, so no matter how often you listen to them, there’s always something new to discover. These were sponsored by Andrey Rasumowsky, an important diplomat in Vienna at that time.

Quatuor Ebène: Beethoven Around The World – Vienna

Beethoven Around The World Vienna String Quartets 7 & 8 Quatuor Ebène Erato 2019 24 96

I’ve written about the French Quatuor Ebène before, praising their fantastic recording of Schubert’s string quintet.

I’ve even seen them live some years ago performing late Beethoven at the Tonhalle in Zürich (still in the old hall, not the current “factory” interim arrangement).

I therefore had high expectations when I read that they will release a complete cycle of Beethoven’s string quartets, taken from live recordings throughout the world, during 2020, which you know if you haven’t been hiding under a rock, is Beethoven’s 250th anniversary.

The “Vienna” in the album title refers to the recording location, so very appropriately starting in the town which was Beethoven’s home for so many years.

So what do you get, and how does it compare to my current reference cycle, by the great Takacs quartet?

Well to make it short: it is a truly great recording. Both Ebène and Takacs give you top-notch performances of both op. 59 No. 1 and 2. Ebène is occasionally a bit more on the extremes, while the Takacs are slightly more “polished”, but both are truly enjoyable performance of these masterpieces.

Really can’t wait for the rest of the tour of “Beethoven around the world”!

My rating: 5 stars

You can find it here (Qobuz)

My Top 5 Classical Albums of 2019

Isabelle Faust plays Bach Violin Concertos

This album just had to be there. I’m a big Isabelle Faust fan, as most of my regular readers know.

This is just a fantastic album overall, and an must have. Hugely enjoyable, Faust’s signature Sleeping Beauty Stradivarius sound, and the AKAMUS is a perfect partner. I had heard the same combination live in 2018, and it was already a great experience.

You’ll find the original review here

Saint-Saëns Piano Concertos 2&5 by Bertrand Chamayou

Saint Saens Concertos 2& 5 solo piano works Bertrand Chamayou Orchestre National de France Emmanuel Krivine Erato 2019 24 96

I really didn’t know Saint-Saëns really well before 2019. I still don’t, but at least the piano concertos were a true discovery for me, with Bertrand Chamayou’s fantastic recording, also with the equally exciting album by Alexandre Kantorow with the concertos 3-5.

The Chamayou album got the 2019 Gramophone award, and I can only highly recommend this, particularly for the concerto no. 2 which really has become a favourite of mine now.

Yuya Wang’s Berlin Recital

Yuya Wang The Berlin Recital Encores Deutsche Grammophon 2019 24 96

I’ve said it in the review, I wasn’t a big fan of Yuja Wang before this album. This live recital really has become one of my absolute favourites, for the playing, the recording quality, and the exciting repertoire. Highly recommended.

Savall’s mesmerising Messiah

Georg Friedrich Händel Messiah An Oratorio HWV 56 La Capella Reial de Catalunya Jordi Savall Alia Vox 2019 DSD 24 88

This album, which only came out some weeks ago, has been in constant rotation on my playlist. Being in the Christmas season helps, but this album constantly keeps playing in the back of my head, even when not listening to music at all. You’ll find my original review here.

Igor Levit’s Beethoven Cycle

Igor Levit Beethoven Complete Piano Sonatas Sony Classical 24/96 2019

I had several contenders for the last spot on this list. There’s Volodos’ beautiful recording of the Schubert sonata D959 (not yet reviewed), Pichon’s Liberta compilation, several of the great Debussy recordings on Harmonia Mundi (e.g. Faust, or Roth), or Petrenko’s Tchaikovsky Pathétique. But ultimately I ended up choosing this fantastic cycle. I have yet to fully discover in detail every of the 32 sonatas (there’s just so much material), and I don’t think I’ll ever feel fully qualified to review all 32 sonatas in detail.

And I don’t necessarily agree with every single choice of style or particularly tempo. But one this is for sure, this cycle is special, and will make you think. Isn’t this what musical enjoyment is all about?

You’ll find the download links to all of the above in the original reviews.

So, up to you? Do you agree with my choices? Anything I missed?

My Reflections On the Classica Magazine “Chocs de l’année 2019” – part I

Classica Magazine

Regular readers of my blog know that I mainly follow two classical magazines as a reference. One is the UK’s Gramophone, the other France’s Classica Magazine.

Interestingly enough, Classica really is the magazine where I have the most overlap with their reviews, for Gramphone it is a bit more hit and miss.

I’ve commented nearly every year on the Gramophone Awards nominees and winners, but I’ve never written a lot about the equivalent of Classica Magazine, the “Chocs de l’année”.

Classica has a five star rating system for all albums (although I hardly ever see 1 stars appear), but on top of the 5 stars, they also select every months the albums “Choc”, similar to Gramophone’s Editor’s Choice.

And, once per year, Classica publishes their “Chocs de l’année”, i.e the overall best albums of the year.

Let’s have a look together.

Les Chocs de l’année 2019 – Classica Magazine – Artist of the Year

First category is “L’artiste de l’année”, winner is French pianist Michel Dalberto (I can’t help but notice that while Gramophone is a bit biased towards UK artists, Gramophone has the same for their local talent.)

Two albums get a particular mention, his recent 2019 Beethoven sonata album on La Dolce Volta, as well as César Franck solo piano and chamber album on Aparte.

Beethoven Michel Dalberto Pathetique Funebre Claire de Lune Appassionata op. 111 Erato 2019
Michel Dalberto & Novus Quartet César Franck Piano works quintet Aparte 2018

I must admit I really don’t share their excitement for the Beethoven album. Sure, it’s not bad, but I’d clearly prefer others here (among recent choices, Levit, Perahia, Lewis).

The Franck album I haven’t really listened to a lot, he is one of those lesser known French composers that I just have much less experience with. But I’ll check it out more systematically in the future, and so should you.

Label of the Year

Label of the year is the French label Alpha, and here I fully agree. In 2019, the smaller dedicated labels like Alpha, Hyperion, BIS, Chandos, have just become so much more important that the old majors like DG, Sony, Decca, etc.

Among other albums they specifically mention Celine’s Frisch Well Tempered Clavier recording (my 5 star review here), and Rouvali’s Sibelius 1 (also featured in the Gramophone Award nominees).

Sibelius Symphony No. 1 En Saga Gothenburg Symphony Santtu-Matias Rouvali Alpha 2019

Brahms: Piano Quintet & Klavierstücke op. 76 – Quatuor Hermes & Geoffroy Cocteau – LaDolce Volta 2019

Brahms Geoffrey Couteau & Quatuor Hermes Piano Quintet F minor op. 34 Klavierstücke op. 76 La Dolce Volta 2019 24 96

I had already noticed this album earlier this year when I saw it got a Choc from Classica and a 5 star review from Diapason.

I have yet to fully review this album, but overall I like it quite a bit. Not sure if it is a full 5 star to me, but I promise I come back to this more formally. In any case, it is worth discovering.

François Xavier Roth

Roth gets even two mentions, with his Berlioz Harold en Italie, as well as the recent Debussy album.

Hector Berlioz Harold en Italie Les Nuits d'été Les Siècles François-Xavier Roth Tabea Zimmermann Stéphane Degout Harmonia Mundi 2019 24 96

I can’t really comment on the Berlioz, again I’m only slowly getting to know the broader French repertoire better.

But I fully agree that Roth is a great talent, and also like his Debussy album very much, which also was nominated for a Gramophone Award.

Debussy Jeux Nocturnes Francois Xavier Roth Les Siècles Harmonia Mundi 2019

David Kadouch – Révolutions

David Kadouch Révolution 24 96 2019 Mirare

Here I really can’t comment, I’ve never heard of this album nor of this pianist before. Turns out he’s French as well (did I mention there seems to be some geographical bias somewhere).

In any case, the program of this concept album (obviously around the Revolution) is quite intriguing, from Dussek (yes, I also had to google him), via Beethoven, Chopin, Liszt, Janacek, Debussy, to Rzewski. I only quickly sampled works I know well, like the Chopin Revolutionary Etude, or the Scherzo no. 1, in both cases I wasn’t blown away. But don’t take this as a proper review, and have a look.

Rachmaninov – The Piano Concertos – Trifonov – Nézét-Séguin (DG 2019)

Daniil Trifonov Yannick Nézet-Séguin The Philadelphia Orchestra Destination Rachmaninov - Departure Deutsche Grammophon 2018 24/96
Destination Rachmaninov - Arrival - Piano Concertos 1 & 3 Daniil Trifonov Yannick Nézéz-Séguin The Philadelphia Orchestra Deutsche Grammophon 2019 24 96

While I absolutely loved Trifonov’s recording of Rach 2, and was right at predicting that this would be a very controversial version, I still haven’t been able to properly review his approach to Rach 3 (sorry I typically disregard Rach 1 and 4) which was released quite recently.

Classica praises both of them, but I honestly would caution you before you buy the Rach 3 blindly. I can’t put my finger on it, but something is there that I just don’t like as much. I’d be very curious to hear your opinions. Personally, I rather stick to other versions like Leif Ove Andsnes with the LSO.

Two Gounod Operas

Gounod, yet another composer I barely know. A good friend of mine loves his Faust, but to this day, I really haven’t found my way around this composers’ work.

Let me nevertheless mention the two operas here that Classica likes, they clearly know more about French composers than I do. Both come from conductors I personally like very much, Hervé Niquet and Christophe Rousset, you probably won’t go wrong with any of these recordings.

Le Tribut de Zamora Charles Gounod Hervé Niquet Chor des Bayerischen Rundfunks Münchener Rundfunkorchester
Gounod Faust version 1859 Les Talens Lyriques Flemish Radio Choir Christophe Rousset Faust

Look out for part II of this blog post in the next days. You’ll find it here.

You can find the new albums of this blog post here (Qobuz), or in the link to the original review.

Michel Dalberto – Franck

Quatuor Hermes – Brahms

Roth – Berlioz

Kadouch – Révolution

Trifonov – Rach 3

Niquet – Gounod

Rousset – Gounod