Description

The Paris based Rodrieg Ensemble was established by three award-winning artists in order to explore the relationship between contemporary classical music and established repertoire through reference performances of thematically selected chamber music.  Although part of the Rodrieg Ensemble’s artistic vision is to expand the range and context of its core flute/cello/piano trio, its repertoire is not limited to or even predominantly based upon this configuration.  Rather, the Rodrieg Ensemble pursues programming projects in which repertoire selections are made in order to effectively elucidate a given idea or theme.  Thus, performances include works for solo, duo, trio and larger ensemble with guest artists.  This album, which could be succinctly described as ‘Debussy and After,’ is a perfect example of the Rodrieg Ensemble’s multi-faceted artistic vision.

Description

An important feature of the ensemble CelloPassionato is its regular cooperation with composers. Its close ties with the composer create proximity to the work, inspire the interpretation and generate the feeling of being able to “read between the lines”. All the compositions recorded on this CD are a product of this cooperation. The works by Ali-Sade and Gubaidulina are released here as premiere recordings, whereas the works by Bonato and Kerer were written for the ensemble, premiered and subsequently recorded.

For over 15 years, Prof. Julius Berger has been running an ensemble made up of his finest students. Originally intended as an educational initiative, the ensemble soon started to catch the eye of organizers, festivals, radio stations and record companies. CelloPassionato, which is now directed by Hyun-Jung and Julius Berger, has guested at venues such as the Kronberg Cello Festival, the A·DEvantgarde Festival in Munich, the Asiago Festival in Italy, the Konzerthaus in Berlin and on the stages of Seoul in South Korea. The ensemble has also made numerous appearances in France, Slovenia, the Czech Republic, Austria and, of course, in its hometown of Augsburg. Composers such as Sofia Gubaidulina, Wolfgang Rihm, Wilhelm Killmayer, Franghiz Ali-Sade, Giovanni Bonato, Manuela Kerer and Eduard Putz have trusted the ensemble with performances of their works or written new works for the ensemble. Commissioned works are currently being written by the composers Markus Schmitt and Oscar Strasnoy. Recordings of performances have been broadcast by various radio stations in Germany and Austria, by the Seoul Broadcasting System in South Korea and the Franco-German television network Arte. A number of CD releases are also available.

Description

The mezzo-soprano Viviana Araiza Staffini was born in Munich and spent part of her childhood in the USA and Italy. She studied at the Munich College of Music and completed her studies at the International Opera Studio of the Zurich Opera House.

A key role in her career was Bizet’s Carmen, with which she, with the Sapporo Symphony Orchestra, made her Japanese debut to great acclaim in 1990. Mozart is also prominent in her repertoire, and Riccardo Muti called her to La Scala in Milan in the role of Vitellia in La clemenza di Tito. She has also gained acclaim on the concert stage and often performs at venues like the Cologne Philharmonie, the Alte Oper in Frankfurt and the Dresden Philharmonie.

Description

Benjamin Britten (1913-1976), the creator of the epic War Requiem, is rightly regarded as the most important English composer of the 20th century. His works for a cappella choir show an overwhelming variety of styles, texts, and compositional techniques. And for these, choirs are extremely grateful. Benjamin Britten, who was known not only as a composer but also as an experienced practitioner, was able to precisely gauge the possibilities of each respective performer; he knew exactly which details in the score were necessary to achieve the desired effect.  Excellent choral music is to be found in settings ranging from children’s and school choirs to oratorio choirs and professional ensembles. The choices made for this recording – major works from different creative phases throughout Britten’s life – reflect this diversity. The inclusion of works by William Byrd, Henry Purcell, Edward Elgar, and Ralph Vaughan Williams also affords an opportunity to trace a line of tradition in English choral music.

The Collegium Vocale was founded in 2005 by Ulrike Grosch. Originally made up of participants of a workshop led by Ton Koopman, the choir consists primarily of students and alumni of Swiss conservatories and music schools. The choir and its director share an enthusiasm for the discovery of the new, combined with high vocal expertise and a particular passion for working on language, diction and sound.

Description

There is a classic like “Bay mir bistu sheyn (Tome, you are beautiful)” moved to the beach of Copacabana, there you here sounding waltzes in electro sound and tangos like a hot Flirt in the morning at the Club, with the ‘Tumbalalaika’ she then goes eastward, but not in the typical folcloric dress and the ballads of the album sound more like pop than what is otherwise combined with Yiddish music in.
Sharon Brauner brings us back a culture, without any nostalgic transfiguration into a sound that is far away from hard retro culture and instead, well – it comes pretty sexy around the corner.

Description

Their partner on the conductor’s rostrum to witness by the rank of the soprano Christiane Oelze: Herbert Blomstedt, Riccardo Chailly, Claudio Abbado, Pierre Boulez, Christoph von Dohnányi, Sir John Eliot Gardiner, Michael Gielen, Carlo Maria Giulini, Nikolaus Harnoncourt, Christopher Hogwood, Marek Janowski, Fabio Luisi, Sir Neville Marriner, Kurt Masur, Kent Nagano and Sir Simon Rattle. Hardly a renowned Orchestra with Christiane Oelze had not already performed.

In addition to her work in Opera and concert, Christiane Oelze has dedicated herself building a challenging and varied song repertoire; accompanied by many well-known pianists and their longtime song partner Eric Schneider.

Many of their recordings of the songs received high praise in the press, including songs by Anton Webern, settings of Goethe, and last but not least ‘forbidden songs’ the exiled composer Ullmann, Korngold and Weill.