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Eva Lind’s appearances have taken her to the leading opera houses in Milan (La Scala), Paris (Theatre des Champs Elysées), London (Royal Albert Hall), New York (Carnegie Hall), Berlin (Staatsoper), Stockholm (Opera House), Buenos Aires (Teatro Colòn), Madrid (La Zarzuela), Amsterdam (Concertgebouw), Shanghai, Hongkong, Bejing, Tokyo, Osaka and many others as well as at the Festivals of Salzburg and Arena di Verona.

Eva Lind has shared the stage with the likes of Luciano Pavarotti, Placido Domingo, José Carreras and Alfredo Kraus. She has become a favourite of conductors such as Riccardo Muti, Claudio Abbado, Sir Georg Solti, Nikolaus Harnoncourt, Sir André Previn, Sir Neville Marriner, Daniel Barenboim, Jeffrey Tate and Seiji Ozawa.

Symphonies overwhelm me, operas impress me. Yet the small form of the French art song can be just as exciting and fascinating. It has therefore been my dearest wish for many years to devote a CD to the gems of French song in their finest settings. I have here selected four of the greatest French composers, all of them masters of these musical miniatures. Each of these composers is unique in his own way. Massenet composed incredibly emotional Romantic tone-paintings; Fauré was second to none in composing songs that provide special kaleidoscopic insight into personal inner worlds; Debussy’s finesse elegantly transformed poetry into music and finally Satie’s visionary musical ideas and splendidly bizarre humour made him a pioneer of surrealism. These songs are extremely condensed masterpieces – some introvert and timid, some explosively Romantic. (Eva Lind)

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The songs of Astor Piazzolla

The great argentine composer changed forever the sound of Buenos Aires and brought a contemporary tango with jazz’s elements to the world.
The songs he wrote, mostly inspired by literary luminaries like Jorge Luis Borges, Pablo Neruda or Julio Cortázar; represent a genuine treasure of the XX Century song writing. The argentines Marcela Arroyo (voice) and Julio Azcano (guitar) pick up these hidden jewels and give the timeless dialogue between voice and guitar a new light. Fine and precise arrangements meet a sensual repertoire.

Julio Azcano Different paths converge in the acoustic palette of Julio Azcano: the refining of his classic technique at his homeland Argentina, an intense activity in improvisation and composition projects in Europe and a nourished performing activity that includes concerts through Argentina, Europa and the USA. Julio’s playing was registered in several opportunities on Radio and TV broadcastings and CDs recordings, including the album from South America renowned Guitar Festival “Guitarras del Mundo” and the international broadcasting of an acclaimed concert by “Guitar City 2008” in Poland.

Buenos Aires-born tango singer Marcela Arroyo’s unique voice – sensuous and warm – is utterly captivating. A student of the Manuel de Falla Conservatory and Julio Bocca School of Musical Theater, she went on to perfect her skills under greats such as Anibal Arias, Leda Valladares, Hilda Herrera and Juan Manuel Miró.

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“It has always been my dream to present the two great ‘Golds’, two of my favorite composers together on a CD.

The light, fragrant classic sounds of Vienna from Goldmark, and the refined, ‘Oscar’ winning Hollywood melodies of Korngold have something in common – they unfold together is an almost magical effect. I was fascinated as a child, when I heard the name Carl Goldmark. The hall of the Jewish community in Budapest where I did my first gigs bears his name, the greatest of Hungarian-Jewish romantic Goldmark. I wanted to play his music. During his lifetime, he was highly respected by Johann Strauss, Brahms and Mahler – now today his works are, unfortunately, very rarely played. (Orsolya Korcsolan)

Korcsolan violinist Orsolya was born into a Jewish family in Budapest. She has completed her studies after Sir Georg Solti’s recommendation in New York on the Juilliard School with honors. Korcsolan woman currently lives in Vienna, has performed worldwide as a soloist and chamber musician, and dedicated to their next concert performances of Jewish composers and research topics in the classical music literature.

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J. S. Bach’s creative potential as a composer was so all-embracing that there is hardly a single musical genre to which he did not repeatedly return. The great instrumental cycles and the monumental choral works are those most closely associated with his illustrious name. One of these cycles, the Six Partitas for Clavier solo, was designated as his opus 1. Bach wrote it at the age of 46 and had it published himself. One suspects he must have taken special care in selecting a work for the accolade of “opus 1”, especially since his catalogue of works to that date already contained many of his unique masterpieces.
Johannes Brahms’ piano works can be divided into two periods: The early, largescale piano works alternate between symphonic and song-like conception. Their suitability for the concert hall lies in the highly virtuosic writing, for instance in the Paganini Variations. Then there are the late works, the summation of an individual journey, the unifying of personal will with spiritual potential.

Miku Nishimoto-Neubert has performed widely in Europe, Japan and North America as soloist, chamber-musician and as accompanist, concentrating on the music of Bach, German Romantic composers and the modern classics. There she finds the figurative and formal clarity, which, besides the sensitive qualities of touch, characterise the playing of Miku Nishimoto-Neubert. A critic writing about her recent CD of works by Bach spoke of “a capricious sophistication of the spirit” and “a meditative introspection”. Notwithstanding all her technical proficiency, it is the intensity with which she seeks the inner spirit of the music which marks the uniqueness of her interpretations and makes them memorable experiences.

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In my opinion, an opera singer has a rightful claim to recognition as an artist only when it can be said that he has personalized the original composition by placing his own stamp on it.

I look back with fondness and warmest appreciation at the moments when the live-recordings which form this collection were created during the period from 1978 to 2007.

The aura of being a Mozart-Tenor accompanied me from the beginning of my career and was a pre-requisite to my eventual crowning achievements as observed in my performance in the roles of Tamino and Belmonte, to entering artistic knighthood as bestowed upon me by Herbert von Karajan and Karl Böhm and finally, to reaching the apex of my career for the celebrity year of Mozart 1991 with highlight performances of Idomeneo and Tito.

I was always clear that my voice would be located in the lyric fach only for a limited time, since the dark colouring of its timbre, the explosiveness of the higher notes and not least its volume were clear early signs that those aspects would become stronger and that I would be advised to go for suitable, heavyweight repertoire. Progressing from the romantic heroes of French opera to the spinto roles of the Italian opera world, I set myself the goal of achieving Lohengrin. Though there were some doubters when I debuted in the role in 1990, it was one of my greatest triumphs. The Swan Knight offered me an opportunity that remains unique in my singing career spanning over forty years – Dimensions thatwereunique. (Francisco Araiza)

FranciscoAraiza.com

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The 1989, Baroque ensemble of the Vienna Symphony Orchestra since then presented a series of concerts with sophisticated Baroque music in the context of the Bregenz Festival includes 13 musicians. These concerts over the years, evolved into a real “audience hit” and continued to the present. This was followed by invitations to the Schubertiade to Schwarzenberg, Fiori Musicali Triberg and other festivals.
The special feature of the ensemble is to combine the style and phrasing of the Baroque with the sonic possibilities of today’s instruments and to develop as a unique sound culture.

The six recordings where produced at the “Pilgrimage Church – “Wallfahrtskirche Maria in der Tanne” at Triberg. The roots of the pilgrimage in Triberg go back to the year 1644. This was the year, where little Barbara Francis was healed by the water of a nearby spring of her eye complaint. Only a year later happened another miracle: the tailor Friedrich Schwab was released of his leprosy, by water of the source.
In gratitude, he placed a small statue of “Mary” into the hollow of a pine tree – hence the name of the church: “Maria in der Tanne”.