Renata Scotto shows an amazing flexibility and control. Her Caro nome is one to be heard many times. She reaches a high D and decrescendo's to an incredible ppp. I felt the aria drug a little in tempo, but the gorgeous sound more than made up for it. As Rigoletto, Dietrich Fischer-Dieskau has the vocal power demanded by the score. Too often he sounded as if he was delivering a recital of Leider. A smooth velvet sound was his mark throughout. In his duets with Gilda, this payed off handsomely. Even in his dealings with the courtiers after Gilda's abduction he showed us a rarely seen Dietrich blustery side.
Carl Philipp Emanuel Bachs interest in the organ would seem to be fairly limited, at least judging by the number of pieces he composed for the instrument. The reasons for this attitude could be personal and professional, but could also reflect the changing affections and the new sensibility of the period, since during his lifetime the organ underwent a phase of relative decline. Indeed, following the acme reached by Johann Sebastian Bach, the instrument sank into a phase of neglect in Germany during the second half of the 1700s.
Solid, soulful blues, often with humorous, self-deprecating lyrics, comes from the well-respected vocalist, tenor player, composer, and veteran of the bands of Albert Collins, Buddy Guy, Magic Sam, and Son Seals. Reed has been called "the definitive Chicago blues sax player." This album features Reed's band, with guests Bonnie Raitt and Stevie Ray Vaughan
This release is part of a set of Bach cantata recordings by the Belgian group Il Gardellino and director Marcel Ponseele: not an entire new Bach cantata cycle but a set of thematically oriented recordings that may also include works by other composers. "De profundis" (from the depths) offers three cantatas based on Psalm 130, which begins with the words "From the depths I cry to thee, Lord" and was translated into German in several ways.
They mean well, their hearts are in it, and they clearly have the chops. But ultimately, the Prazák Quartet's and Kocian Quartet's recording of Mendelssohn's ineffably evanescent String Octet doesn't quite make the grade. Because for all their good intentions, the Prazák and Kocian quartets' performance does not quite capture the work's ineffable evanescence, its sense of youthful impetuosity and masterful lucidity or its feeling for achingly lovely melodies and strongly effective rhythms.