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The article provides a review of two classical music recordings. The first recording features South African soprano Golda Schultz performing Mozart arias, duets, and concerted numbers. The reviewer praises Schultz's emotional and technical abilities, although noting that her voice may be better suited for heavier roles. The second recording showcases French soprano Sabine Devieilhe performing Strauss and Mozart Lieder. The reviewer commends Devieilhe's performance and highlights her interpretation of the pieces. The article also discusses a Lieder recital, Mozart's Masses, and provides historical context about Mozart's relationship with Archbishop Hieronymus von Colloredo and his restrictions on sacred music. It concludes with a review of a live performance of Mozart's Requiem conducted by Mariss Jansons. [Extracted from the article]

This article provides a critical analysis of three musical works: "DONIZETTI L'aio nell'imbarazzo," "STEPHEN DODGSON Canticle of the Sun," and "Σ DONIZETTI L’aio nell’imbarazzo." The author discusses the musical styles, performances, and overall quality of each work. The article also mentions the 100th anniversary of British composer Stephen Dodgson's birth and his underappreciation in the mid-20th century due to his tonal style. The text then focuses on a futuristic production of the opera "L'aio nell'imbarazzo," directed by Francesco Micheli, which is set in the year 2042 and incorporates elements of the internet. The production features student singers and is visually stunning, thanks to the work of lighting designer Peter van Praet. The article briefly mentions other music recordings, including Dvořák's symphonies and serenades. [Extracted from the article]

The article provides an overview of recent classical music recordings and performances. It mentions a new album by The Suspicious Cheese Lords, featuring Renaissance motets and a Mass. Other recordings include Geminiani's violin sonatas performed by Igor Ruhadze and Alexandra Nepomnyashchaya, Henry Vieuxtemps' character pieces, Lukas Foss' music in Naxos' American Classics series, and instrumental recordings of operatic music by Fernando Sebastiani and Maestro Carlo Rizzi. The article also mentions Golda Schultz's Mozart recital and a complete recording of Rodgers and Hammerstein's Oklahoma! conducted by John Wilson. The recordings are praised for their performances and interpretations, making them valuable for those interested in classical music. [Extracted from the article]

The article discusses various songs by Ullmann, Kaprálová, and Hölderlin, performed by different artists, showcasing their vocal and harmonic complexities. It also reviews Samuel Hasselhorn's album "Urlicht: Songs of Death and Resurrection," highlighting his baritone voice and interpretations of somber themes in songs and operatic excerpts. Additionally, it introduces Huw Montague Rendall's debut album, praising his vocal agility and expressive performances in a diverse selection of beloved melodies and arias. The article acknowledges Rendall's potential as a rising star in the realm of English baritones, drawing comparisons to established singers like James Newby and Simon Keenlyside. [Extracted from the article]

The article discusses the orchestral music of Brazilian composer Oscar Lorenzo Fernandez, focusing on his Symphony No. 1 and Symphony No. 2, inspired by a 17th-century explorer. The Minas Gerais Philharmonic's performance under Fabio Mechetti is highlighted, with a detailed analysis of Fernandez's compositions. Additionally, the article reviews Richard Flury's opera "Der schlimm-heilige Vitalis" and Italian composer David Fontanesi's string quartets, providing insights into their unique styles and influences. The text also delves into Roberto Gerhard's orchestral works, particularly his ballet score "Don Quixote," showcasing his Catalan roots and modernist approach. [Extracted from the article]

The article discusses the release of Marco Anzoletti's "Golden Nothingness," featuring unpublished art songs for soprano and piano. The album highlights Anzoletti's compositions and the influence of his sister, Luisa, a Christian feminist and poet. The soprano soloist, Gabriella Costa, is noted for her pure tone and musicality, despite some vocal inconsistencies. Additionally, the Cygnus Trio's recording of "Impressions of Iberia" presents engaging performances of Spanish-style pieces, including works by Arbós, Turina, and Ravel, showcasing vibrant and idiomatic playing. [Extracted from the article]

The article discusses two different recordings of classical music. The first recording features South African soprano Golda Schultz performing Mozart arias and duets. Schultz's voice is described as ample and shining, and she demonstrates emotional and technical security in her performances. The second recording features French coloratura soprano Sabine Devieilhe singing Strauss and Mozart Lieder. Devieilhe's voice is described as refreshing and pure, and her communication style is intimate. Both recordings are praised for their ensemble renditions and overall excellence. [Extracted from the article]

The article discusses Giacomo Meyerbeer's opera "Le prophète," which is inspired by the history of Protestantism and the life of John of Leiden. The opera features innovative writing, including a reduction of the Anabaptist contingent to a trio of male singers who sing in unison. The article also compares different recordings of the opera, highlighting the strengths of the newly released version conducted by Sir Mark Elder. Additionally, the article briefly mentions Francisco Mignone's guitar concerto and other works in Naxos's Music of Brazil series. [Extracted from the article]

An introduction is presented in which the editor discusses articles in the issue on topics including the third volume of complete duos for harp and piano on the Toccata Classics label, featuring compositions and arrangements by Welsh composer and harpist John Thomas.

The text discusses various musical compositions and performances. It mentions a violin suite inspired by African-American works of art, a tribute to composer Jean Sibelius, and a recording of Richard Strauss's songs. It also includes a review of a recording of Stravinsky's "The Firebird" and "Apollo." The performances are praised, and the text provides insights into the musicians and their interpretations. [Extracted from the article]

This article discusses two different recordings of classical music. The first recording is of Bedřich Smetana's composition, which is characterized by its lack of a slow movement and its expressive solo writing. The second recording is of Vincenzo Bellini's opera "La sonnambula," featuring Maria Callas in the lead role. The author compares Callas's performance to other recordings of the opera and praises her expressive singing, while also noting some criticisms of her interpretation. The article also mentions the improved sound quality of the reissued recording. Additionally, the article briefly mentions another recording of Paul Ben-Haim's "Pastoral Variations." [Extracted from the article]

The article discusses soprano Gabrielle Haigh's album "Il Circolo Respighi," which features songs by Italian composers Ottorino Respighi, Nicolai Rimsky-Korsakov, Giuseppe Martucci, Elsa Respighi, and Vittorio Rieti. Haigh used the concept of the "Circle of" in selecting the repertoire, which refers to the close associates of a famous artist. The album explores the theme of masters and pupils, highlighting the relationships between these composers. Haigh's vocal timbre is described as the reddish gold of a sunny autumn day, and her approach to the songs is characterized as fleet and not depressing. The album was recorded at St. Stephen's Episcopal Church in Belvedere, California. [Extracted from the article]