• New live recordings from Berlin

    From Andrew Clarke@21:1/5 to All on Fri Oct 28 08:59:45 2022
    Live: Sat, 29 October 2022, 19:00 (Berlin)
    A Mozart evening with Maxim Emelyanychev and Sabine Devieilhe

    Wolfgang Amadeus Mozart
    Le nozze di Figaro: Overture
    “Oiseaux, si tous les ans”, arietta
    Idomeneo: “Zeffiretti lusinghieri”
    Serenade in D major, “Serenata notturna”
    Die Entführung aus dem Serail: “Ach, ich liebte, war so glücklich”
    Mass in C minor: “Et incarnatus est”
    Symphony No. 38 “Prague”

    François­-Xavier Roth and Isabelle Faust

    François-Xavier Roth chose an audience favourite as the main work for his guest performance in Paul Dukas’s effervescent Sorcerer’s Apprentice. And Claude Debussy’s cantata La Damoiselle élue also received an enthusiastic response. Isabelle Faust
    s performance of Bartók’s Second Violin Concerto “emerged as if out of an inner necessity – and left you deeply touched” (Berliner Morgenpost).

    The reason that I know about these is because the Berlin Phil have just sent me an e-mail to tell me so. These recordings will almost certainly go into the Digital Concert Hall archive, so that I will be able to watch them from whom at a time of my own
    choosing, although the first of these is initially being streamed live from the Phiharmonika at a time that may be suitable for Berliners but not for me.

    I must also make the shameful confession that I have this evening enjoyed a concert conducted by Sir John Eliot Gardiner with Isabelle Faust as the soloist. The long-suffering orchestra was the Orchestre philharmonique de Radio France. Still, for some
    inexplicable reason, the Paris audience enjoyed it too: Chabrier, Stravinsky and Debussy. I noted that in Chabrier's 'Suite pastorale' there were cornets but no trumpets, while in 'Espana' there were trumpets but no cornets: presumably Chabrier scored it
    that way. This recording is available for streaming from Arte, but will probably disappear from the site in a few weeks. So it's not a permanent recording like the BPO ones which are kept in the Digital Concert House's archive permanently so far as I

    Andrew Clarke

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