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Critics' Choice
- Medtner: Arabesques/ Elegies (Arabesques/ Dithyrambs) (Hyperion: CDA67851/2)
- Brahms: Ein Deutsches Requiem (German Requiem) (SDG: SDG706)
- Falla: Nights In The Gardens Of Spain (Chandos: CHAN 10694)
- Vaccaj: La Sposa Di Messina (Naxos: 8.660295-96)
- Schubert: Bei Dir Allein (Schubert Songs) (BIS: BISSACD1844)
- Rachmaninov: Symphony No. 3 (BIS: BISSACD1988)
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"Milne's playing will be surely make in Russians, in particular, listen in awe to such magiserial command and poetic empathy.This is surely in the running for instrumental issue of the year." Gramophone Choice, May, 2012
"The star of the German Requiem is always the choir. You know you're in safe hands with the Monterverdis and the pitch-perfect top A at 2'04''(a graveyard for many a choral society)absolutely confirms it." Gramophone Choice, May, 2012
To read the complete review, please visit Gramophone online.   "And it is greatly to the credit of Juanjo Mena and his forces that such a potent atmosphere is achieved. Falla's beloved elements are given with a concentrated musicianship where energy and refinement blend in ideal proportions." Gramophone Choice, May, 2012   Posterity has been unkind to Nicola Vaccaj (sometimes spelled Vaccai – 1790-1848). A voice teacher and composer, he is best known for his Practical Method of Italian Singing, published in 1832 and still used as a manual. However, in his day it was his operas that made him famous and frequently controversial. La Sposa di Messina, dealing with sibling incest, caused such outrage at its 1839 premiere, it was withdrawn after two performances and only saw the light of day again at the 2009 Wildbad festival, where this recording was made. Vaccaj's source was Schiller's play Die Braut von Messina, about two brothers, poetic Emanuele and rapacious Cesare, feuding over Emanuele's mistress, Beatrice, but catastrophically unaware she is actually their long-lost sister. The real tragic protagonist of both play and opera, however, is Isabella, the mother of this hapless trio, who abandoned Beatrice at birth on hearing a prophecy that the girl would destroy her family, only to be faced, decades later, with the horrific realisation that it is coming true. Vaccaj is an attractive, if not particularly original, melodist. But his dramatic sense is exceptional, and the opera has an implacable momentum that makes it compelling. Its appearance on disc is important enough to recommend it. You need, however, to make allowances for the recording. It's finely conducted by Antonio Fogliani, but the singing is variable, with the women better than the men. Filippo Adami is the four-square Emanuele, Armando Ariostini the vibrato-ridden Cesare. Wakako Ono's Beatrice sounds suitably alluring, but the star is Jessica Pratt as Isabella, fearsomely impressive in a big role bel canto divas should, by rights, have been queuing to sing for decades. The Guardian, April 2012   “Above all, Tilling is versatile and protean...Her soprano sounds peachier than ever, her diction is clear and her musical instincts are immaculate. This lovely singing is underpinned by Paul Rivinius’s outstanding playing of the equally important piano parts. A must for Schubertians.” CD OF THE WEEK The Sunday Times, April 2012   "Michael Collins, acting as both soloist ad conductor, offers dazzling performances. He is equally at home in the intimate lyricism of Weber's slow movement as he is in the brilliance of the writing elsewhere. Strongly recommended." CLASSICAL CD OF THE WEEK The Daily Telegraph.
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