In most cases, the albums of this selection can be listened to and / or ordered (subject to the capacities and authorizations to be delivered) on the websites of artists, their record companies, as well as on the main streaming services. by subscription (Qobuz, Deezer, Spotify…) and online sales.
Igor Stravinsky: Concerto in D major. John Corigliano: The Red Violin Concerto. Amanda Favier (violin), Royal Philharmonic Orchestra of Liège, Adrien Perruchon (conductor).
As representative of the neoclassical vein that characterized the interwar period as of the composer’s non-conformist temperament, the Concerto for violin by Igor Stravinsky invites the soloist to a kind of role-playing game on territories ranging from the referenced baroque (Bach remix) to indefinite folklore (the “fiddler” in all latitudes). Amanda Favier’s interpretation is mischievous to the point that her instrument becomes confused in the treble with a glass harmonica! However, it is indeed a violin, and not the least: a Matteo Goffriller from 1723. The identity of the luthier is of circumstance for the Red Violin Concerto, by John Corigliano, score that the American composer took from the film’s soundtrack The Red Violin, which won him the Oscar for best music in 1998. Rich in spectacular effects that Adrien Perruchon restores without exaggeration at the head of a gourmet orchestra, Corigliano’s concerto earned Amanda Favier a performance as a balancing act, for a high-flying technique than for an aesthetic that is always changing. Pierre Gervasoni
1 NoMadMusic / PIAS CD.
- Marina rebeka
Elle – Airs from French operas
Louise, Herodias, Le Cid, Faust, Carmen, Les Pêcheurs de perles, Manon, Romeo and Juliet, Thaïs, The Prodigal Son. Marina Rebeka (soprano), Sinfonieorchester St. Gallen, Michael Balke (direction).
You don’t have to be in love with French opera to fall in love with the impressive recital by Marina Rebeka, soprano from Riga, whose talent has never ceased to subjugate us. Thirteen extracts from operas, including some standard ones, from Louise at Carmen Passing by Thais and the Marguerite of Faust. A ductile voice with a timbre that is both pure and azure, a flawless interpretation accuracy (French is perfectly intelligible, which in itself is a feat): Marina Rebeka plays each role with sovereign attention to the words and to the fluctuations of the meaning. The dramatic impulses of Herodias, the nobility of Chimene, the enchanting Thais with deadly highs, the intoxicated virtuosity of Juliette waltzing, the restrained sensuality of Carmen, the saving freshness of Manon, no state of mind or spirit has secret to her. At the head of the Sinfonieorchester St. Gallen, Michael Balke, a fine connoisseur of the lyric repertoire, is a companion up to the challenge of dynamic and colorist issues. Marie-Aude Roux
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