Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).
This live performance of Offenbach’s witty, tuneful, swift-moving operetta smacks of the theater: in addition to some audible movement (not bothersome), the singers play off one-another in a marvelous manner, making the whole work gleam. Marc Minkowski’s field of expertise apparently is not only French Baroque–he leads with energy, charm, and an ear for Offenbach’s pointed orchestration (the brass is heard at its shiniest here) and reinstates some music dropped after the premiere (for whatever reason), including another little aria for Paris. The dialogue has been coyly updated and it works…
The only revival from last year, Mozart's first opera seria, Mitridate re di Ponto, was staged in the courtyard of the Residenz, on a small stage that does not allow for complicated and large scale settings…
It’s an achievement when an artist can take a well-known work and interpret it freshly as if heard for the first time. This Marc Minkowski does with Handel’s Water Music by daring to challenge convention and expectation. Firstly Minkowski chooses to ignore modern musicology, which considers the work a continuous piece or a sequence of movements first in F major or D minor, then a mix of movements in D major and G major. Minkowski follows the earlier performance practice of presenting the Water Music as three suites, respectively grounded in F, G and D major which used to be called the Horn, Flute and Trumpet suites, designating the notable solo instruments. Minkowski also includes the two variant movements in F, HWV331, which are now thought to be a revision by Handel to create a freestanding concerto.
Originally released as part of a Purcell-Handel-Haydn ‘trilogy’, this recording of A Song for Saint Cecilia's Day directed by Marc Minkowski, a recognised specialist in the Handel repertoire, is now available separately for the first time. The outstanding soloists also contribute to making this disc a reference.
Two late and baleful tragedies by Euripides focus on the ill-starred daughter of the Greek King, Agamemnon. Will he sacrifice Iphigenia in order to secure fair winds for his voyage to Troy? In Aulis, the drama rages until she is spared. Having escaped to Tauris, Iphigenia finds herself compelled to kill her own brother before, once more, the fickle gods intervene.