Reviews in September 1996

Béla Bartók (1881-1945)

Piano Concerto No.1; Piano Concerto No.2; Piano Concerto No.3

Stephen Bishop Kovacevich, pianist / London Symphony Orchestra (Nos. 1,3) / BBC Symphony Orchestra (No.2) / Sir Colin Davis, conductor (Philips 426 660-2)

Bishop Kovacevich, who is perhaps best known for his recordings of the Beethoven, Grieg and Schumann piano concertos, proves that he is equally adept in the modern arena. These are biting and brilliant performances of difficult works, moody and pensive in the middle movements and bristling with quicksilver virtuosity in the final movements. I especially liked the Allegro molto from the first piano concerto and the Allegro from the second piano concerto, with the pianist hammering angrily at the keyboard with loud and sympathetic noises from the orchestra.

Bishop Kovacevich maintains a consistent high level of concentration and fury throughout the disc and there is superb support from Sir Colin Davis, who seems to relish conducting Bartók. Rhythm and timing are just nice, such important elements in Bartók compositions. There is not much to quibble about this disc. Although the performances may not be as fine as the benchmarks by Kocsis, there is little doubt that there is much merit in these recordings. While the recordings may be pretty old, the sound is excellent and atmospheric. This is a wonderful buy at mid-price and comes with a generous coupling to boot.

Written by Melvin Yap

Joseph Haydn (1732-1809)

Sonata in E flat, Hob. XVI:52; Sonata in G, Hob. XVI: 40; Sonata in D, Hob. XVI: 37; Andante con variazioni in F minor, Hob. XVII: 6

Alfred Brendel, pianist (Philips 416 365 - 2)

Brilliant, scintillating and sparkling are some of the adjectives that come to mind whenever I hear this superb Haydn recital by Alfred Brendel. Brendel is at his finest in the famous E flat Sonata, precise, thoughtful, yet not foregoing that element of spontaneity. These are masculine and exciting performances, with not even a hint of the slightest imprecision to mar the perfection. While some might argue that this chilling perfection makes the performance unnatural, I do not belong to that camp. As I said, much of this disc is delightful, especially the charming and vivacious Finale of the E flat sonata. Brendel shows that he is capable of not only lightning-fast fingers but also of great sensitivity and deliberation in the Andante con variazioni. I was impressed by the meditative artistry and insight as he surveyed the beauty of the different variations. The performance is splendidly recorded; seldom does Philips provide such remarkable sound. Well-balanced, transparent and dynamic --- this disc should win the approval of most collectors.

Written by Melvin Yap

Roberto Alagna & Angela Gheorghiu

Duets & Arias

Angela Gheorghiu, soprano / Roberto Alagna, tenor / Orchestra of the Royal Opera House, Covent Garden / Richard Armstrong (EMI CDC7243 5 56117 - 2)

The most well-known couple in the opera scene today has decided to record an album together, and it proves that love is not the only reason that they stay together. They both have fantastic voices, as this recording seeks to prove. This CD contains various popular romantic arias and duets by various composers, from Mascagni to Bernstein.

Roberto Alagna is no Pavarotti, contrary to what the media would want us to believe. His voice is not as distinctive, but nevertheless very beautiful, especially at the pianissimo level. His vocal acting is entirely believable and passionate, and his delivery, suave and confident. He reminds me a lot of José Carreras, with a little more heart like Domingo. Just sample the aria Je suis seul! by Mascagni from Manon to get a taste of that Alagna magic.

His other half, soprano Angela Gheorghiu, is equally wonderful, if not better. Gheorghiu comes at the right time to fill the gap that her predecessors like Kiri Te Kanawa and Caballe will soon be leaving behind. It remains to be seen how intelligently Gheorghiu will be using her voice (Cheryl Studer has been singing a whole lot of stuff lately that just doesn't suit her). But just based on the merits of this recording, Gheorghiu is one singer we must sit up and take notice. Just check out Charpentier's celebrated Depuis le jour - sweet, lyrical, well-controlled, but yet never just mere fluff, for we can easily tell that this is a great voice with authority at work. One is reminded of Callas in her dramatic inflexions, and some of the sweetest voices like those of Te Kanawa and Caballe are also brought to mind.

All the duets are superb - both singers (obviously) see eye to eye, and they sing as one. The unity of passion and emotions, coupled with firm techniques and lovely voices, make the 7 duets here compelling enough to listen to again and again. I have never felt so touched by the famous duet O soave fanciulla from Puccini's La Boheme since the days of De Los Angeles and Jüssi Bjöerling. One slight snag is the less-than-perfect diction in the Tonight duet from Bernstein's West Side Story; a peculiar choice that kind of sticks out like a sore thumb amidst the other Romantic arias, but pretty well sung nonetheless.

The sound quality is acceptable, though I have heard better stuff coming from EMI.

Written by Lionel Choi

Claude Debussy (1862 - 1918)

2 Arabesques; Suite Bergamasque; Images I and II; Children's Corner

Pascal Rogé, piano (Decca 417 792 - 2)

I have had the good fortune of hearing Pascal Rogé 'live' in a concert here in Singapore with the Singapore Symphony Orchestra, performing Saint-Saëns' Second Piano Concerto, and after hearing much of his output, a very large proportion of which derives from composers from his native country, France, I am quite surprised as to why he has yet to acquire the legendary status as one of the forerunners of French music, compared to others like Walter Gieseking. This Debussy disc attests to that special relationship between Rogé and French music.

Rogé plays beautifully and intelligently throughout this disc, and I am particularly impressed by the ever-popular Suite Bergamasque. These are pieces full of vague but beautiful images behind them (impressionism, it's called) and Rogé seems to get everything just right. His command of the keyboard colour is impeccable and impossible to fault. The Images are stylishly executed, and the Children's Corner full of wit, colour and rustic joy. The first Arabesque is appropriately whimsical.

This CD contains the most popular of Debussy's piano music, presented in all its beauty and splendour, and is made all the more enticing at mid-price. Decca must be something of a legend when it comes to remastering - no other label (except maybe RCA) has come close to producing such excellent results from old analogue recordings. The piano sound here simply could not have been better, and does full justice to Rogé's distinguished pianism. Strongly recommended.

Written by Lionel Choi

Wolfgang Amadeus Mozart (1756 - 1791)

Mozart Portraits: Operatic Arias & Exsultate, Jubilate

Cecilia Bartoli, mezzo-soprano / Wiener Kammerorchester / György Fischer (Decca 443 452 - 2)

Cecilia Bartoli has made waves since her first recordings of Rossini arias and the complete The Barber of Seville. And she continues to do so, generating much excitement with every new release from the mezzo voice of the decade. And how apt that she should be emerging now, for she is just in time to fill those shoes of Marilyn Horne, whose career was possibly amongst the most illustrious as far as mezzo-sopranos are concerned.

Bartoli's voice is not quite as earthy or as full of emotions bursting to come out as that of Horne, but she has a prodigious technique, and her coloratura is thrilling. Her diction is excellent, and her choice of repertoire in this CD is near-perfect to showcase that versatile voice of hers. The opening number, Come Scoglio from Cosi fan tutte, is given an aptly sharp, alert and powerful rendition. But for all that flexibility in the voice, she always remains elegant, yet never sacrificing on dramatic bite. The same can be said of her rendition of Elvira's aria Mi tradi from Don Giovanni. She dons sweet-eyed innocence in Zerlina's Batti, batti from the same opera. Her Per pièta from Cosi may lack a full heartache, but it is undoubtedly well-sung. The celebrated Dove Sono from The Marriage of Figaro is perfectly executed, though she does not spin as much magic in the aria as other well-known Countesses like Kiri Te Kanawa, Jessye Norman, and Elisabeth Schwarzkopf.

The highlight for me here is a flawless, sophisticated and joyful rendition of Exsultate, Jubilate.

The digital recording from Decca is superb, and the Vienna Chamber Orchestra under Fischer support more than adequately. Most of the arias are preceded by the recitative in the opera. A good buy in every way!

Written by Lionel Choi