Chor des Bayerischen Rundfunks / Akademie für Alte Musik Berlin / Howard Arman MOZART Requiem D-moll KV 626

REQUIEM D-MOLL KV 626

 

Chor & Symphonieorchester des Bayerischen Rundfunks / Pablo Heras-Casado FELIX MENDELSSOHN-BARTHOLDY Symphonie Nr. 2 "Lobgesang"

It has been about 45 years now since Mendelssohn’s once popular but forgotten “Lobgesang” Symphony was first revived on disc by Herbert von Karajan and Wolfgang Sawallisch. In recent times, happily, it has been welcomed back without controversy into the repertory by any number of conductors as the masterpiece that it is. The Karajan were an opera, and I would advise our readers to avoid it. But in recent times, several conductors have gotten the porridge right: Ashkenazy, Chailly, Orozco-Estrada, Bosch, and now Heras-Casado, who appears in general to be a young “Mendelssohn whisperer,” conducting Mendelssohn symphonies wherever he guests.
Among these performances, Chailly’s is perhaps the most satisfying, unashamedly large-scaled and velvety, with wonderful sound. It made a big impression a few seasons ago on his East Coast tour with the Leipzig Gewandhaus Orchestra (Mendelssohn’s own, it bears remembering). But unfortunately, Chailly chose to conduct an early edition of the symphony, with a less impressive opening trombone fanfare and awkward transitions in the three orchestral movements.  

That puts Orozco-Estrada, Bosch, and Heras-Casado at the top of the list. The perfectly fine Ashkenazy has been available only as part of a complete set of the symphonies. The Bosch is in a league of its own for beautiful SACD sound and a swift, soft-grained yet lean approach, with just the slightest touch of “early music” phrasing to detract from the romance of it. The Orozco-Estrada and Heras-Casado performances are extremely similar and uncontroversial in their approach. Both feature fine soloists, beautiful renditions of the famous chorale Nun danket alle Gott , and lively, emotionally engaged playing in the three orchestral movements. I might be tempted to favor Orozco-Estrada on Preiser, recorded live with the Tonkunstler in the open acoustic of Vienna’s Musikverein, but that is a subjective judgment. Heras-Casado gets finely balanced sound as well, studio-recorded for Harmonia Mundi in Munich’s Philharmonie am Gasteig, but I find it just a touch dry.
Even so, I think it hard to imagine how one could fail to be swept up by the great trombone fanfare which opens the symphony and unifies it with such subtlety—and deeply moved by all which follows. Mendelssohn is lucky once again to be considered a great symphonic composer, and lucky that this hybrid work has made it back onto the concert stage. But he is not so lucky as the listener. This is memorable music, exciting, noble and pure of heart. (FANFARE / Steven Kruger)

Christina Landshamer / Gerold Huber ULLMANN - SCHUMANN Lieder

Christina Landshamer was born in Munich and initially went to the Academy of Music and Performing Arts in the city, where she studied under Angelica Vogel, following which she studied in Konrad Richter’s singing classes and in Dunja Vejzović solo classes at the State University for Music and Performing Arts in Stuttgart.

Following initial guest performances at the Stuttgart State Opera, she sang at the Opéra du Rhin in Strasburg under Marc Albrecht (Fidelio/Marzelline) as well as at the Komische Oper in Berlin (Susanna). In 2009 ‘the triumphant and virtuoso Christina Landshamer’ had her very successful debut at the Theater an der Wien in Vienna as Clarice in Haydn’s Il mondo della luna under Nikolaus Harnoncourt. This was followed by performances at the Paris Théâtre du Châtelet (with a stage version of the Messiah) and at the Salzburg Festival in Frau ohne Schatten (Hüter der Schwelle – Stage direction: Christof Loy) under Christian Thielemann in 2011. She performed at the Salzburg Festival again the following year as Frasquita in Carmen, this time under Sir Simon Rattle with the Berlin Philharmonic. Also in 2012 she had her debut at the Baden-Baden Festival, again under Christian Thielemann (Ariadne auf Naxos, Najade). Later that year, Christina Landshamer made her highly acclaimed debut as Pamina in Simon McBurney‘s celebrated new production of Mozart’s Magic Flute at the Amsterdam Opera under Marc Albrecht. In 2014 she can be seen in Handel’s Rinaldo as Almirena in Glyndebourne. In 2015 she will collaborate again with Christian Thielemann (Freischütz/Ännchen), this time at the Semperoper in Dresden.

She is particularly fond of singing lieder: a recital of duets with Maximilian Schmitt at the Vienna Konzerthaus marks her first collaboration with Gerold Huber, with whom she had several guest performances in 2013 with a number of recitals, such as at the ‘Musik im Riesen” in the Essen Philharmonic and the Rheinvokal, with lieder by Schumann, Ullmann and Brahms. This season’s programme will be recorded on CD.