Opera and concert activity has been affected into abeyant action for abundant of this year, but the classical recording industry has apprenticed on regardless, with little accessible slowing in the amount of new releases. By and large, the trends of the antecedent few years continued: the admeasurement of abate alcove labels connected to appear up with the added absorbing repertoire while the achievement of arch brands became steadily beneath adventurous.
There were some oddities, though. The accepted deluge of Beethoven releases to mark his 250th altogether never absolutely happened, and admitting there were absolutely notable new titles – the Brodsky Quartet arena the backward cord quartets; Ian Bostridge and Antonio Pappano’s accumulating of songs; the set of the symphonies beneath nine differentconductors issued by the Royal Concertgebouw Orchestra; Daniel Barenboim’s aeon of the piano sonatas (the fifth he has recorded) and his additional of the piano trios – conceivably the best cogent ceremony activity was René Jacobs’ recording of Leonore, the aboriginal 1805 adaptation of the opera we apperceive today as Fidelio, which absolutely appeared at the end of aftermost year.
Studio recordings now tend to be abundant rarer than those taken from alive performances for opera. The re-emergence of Naive’s analysis of Vivaldi’s operas will accept admiring bizarre enthusiasts, but the year’s best notable boilerplate releases were Britten’s Peter Grimes conducted by Edward Gardner (studio-made), and Strauss’s Die Frau ohne Schatten beneath Christian Thielemann (from the Vienna State Opera). The best absorbed new opera set of the year, Verdi’s Otello, conducted by Pappano with Jonas Kaufmann in the appellation role, was a little disappointing, admitting Kaufmann’s ventures into the song repertoire – crooned lockdown Lieder and kitsch Christmas songs – were for me a far greater let down.
Among agreeable releases, François-Xavier Roth and the aeon instruments of Les Siècles connected their analysis of the French repertoire, there was added of Edward Gardner’s Schoenberg from Bergen and Osmo Vänskä’s Mahler from Minnesota, and Gustavo Dudamel in Los Angeles surveyed the Ives symphonies. Both Vladimir Jurowski and Iván Fischer conducted Mahler’s Das Lied von der Erde, while the accumulating of Mariss Jansons’s Bruckner performances with the Bavarian Radio Symphony was a accomplished canonizing to the abundant absent conductor. And one of the abrupt bonuses of lockdown was the befalling for Masaaki Suzuki to almanac Bach’s St John Passion with the Bach Collegium Japan, complementing their St Matthew Passion appear beforehand in the year.
It wasn’t an outstanding year for new music, admitting the specialist labels – including Addition Timbre and NMC in Britain, Neos, Wergo and Col Legno in Germany, and Canteloupe in the US – connected to absolution a advanced ambit of works by active composers. There were still some highlights, admitting – Clara Ianotta’s cord quartets, Detlev Glanert’s latest opera, Oceane, Harrison Birtwistle’s contempo piano music, and works by the founders of Bang on a Can. And amid the flood of boilerplate reissues, the set that I’ve best enjoyed allotment to Beethoven – period-instrument performances of the piano trios, violin sonatas and cello sonatas by Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov.
1. Les Siècles: Ravel & Mussorgsky
We said: “Lighter than some readings, affably able-bodied and abounding of blithely lit detail, admitting still mustering a absolute bite in the calamity of the final pages.” Read abounding review.
2. Isabelle Faust/Swedish RSO/Harding: Schoenberg Violin Concerto
We said: “Faust brings a aces ambit of colour and alive dash to this music, and Daniel Harding matches her compassionate in the way he teases out the agile agreeable textures about her violin lines.” Read abounding review.
Gallery: These iconic albums are now 20 years old! (Espresso)
3. Deutsche Oper/Runnicles: Glanert’s Oceane
We said: “Dramatically and musically, it’s all affably assured and convincing.” Read abounding review.
4. Skelton/Wall/Williams/Bergen Philharmonic/Gardner: Peter Grimes
We said: “Britten’s opera sounds huge and blood-tingling in a nuanced recording with sparkling coaction amid singers and orchestra – it’s rarely articulate better.” Read abounding review
5 Clara Ianotta: Earthing
We said: “The furnishings never assume wilful or contrived. They become basic genitalia of a action that is accustomed and organic, in music that relies heavily on the charge and adaptability of the performers, qualities the Jack Quartet accept in abundance.” Read abounding review
6. Pavel Kolesnikov: Bach Goldberg Variations
We said: “Makes the music complete beginning off the page.” Read abounding review.
7. Bavarian Radio Orchestra/Mariss Jansons: Bruckner Symphonies
We said “These are august Bruckner performances, and a aces accolade to a actual accomplished conductor.” Read abounding review.
8. Los Angeles Philharmonic/Dudamel: Ives Symphonies
We said: “These performances authenticate that Dudamel is a actual accomplished Ives interpreter.” Read abounding review.
9. Eighth Blackbird: Singing in the Dead of Night
We said: “Played with aces attention and exuberance.” Read abounding review.
10. Véronique Gens: Nuits
We said: “It’s adamantine to anticipate of addition accompanist today who is added acute in this repertory, with every chat bright clear and every dash of the argument altogether inflected.” Read abounding review.
Concerto En Sol Ravel – concerto en sol ravel
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