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Fischer’s Hungarian Rhapsodies are as frisky as foals and as flavoursome as goulash, and are further aided by excellent, full-bodied sound … as dashing and as dancing as anyone might want. His superb interpretation of these works led to his triumph at two major violin competitions – in 2008 he won the Yehudi Menuhin Competition performing the Mendelssohn Concerto, followed by first prize in the prestigious Queen Elisabeth Competition in Brussels a year later, with the Tchaikovsky Concerto.
This unforgettable gallery features not only Orlando himself - here a female contralto, sung by Marie-Nicole Lemieux, much acclaimed for her sumptuous voice and dramatic commitment - who is given a series of astounding virtuoso arias - but also the tragic figure of the sorceress Alcina (Jennifer Larmore), the voluptuous Angelica (Veronica Cangemi), the valiant Ruggiero (a stunning Philippe Jaroussky), and the proud female warrior Bradamante (Kristina Hammarstrom).Orlando Furioso is perhaps the most dramatically satisfying of the dozen or so Vivaldi works to be re-staged since interest in seeing the Venetian master’s operas took hold over the past 15 years or so. The action is set on the island of Alcina, an enchanted place of which the sorceress has gained control by stealing the ashes of Merlin. These are now in an urn conserved in the temple of Infernal Hecate, and jealously guarded by the invulnerable Arontes.Alcina has offered the hospitality of her palace to the beautiful Angelica, daughter of the king of Cathay. His tone is silken, his technique faultless, his musicianship persuasive as well as controlled and poetic. Angelica is in love with Medoro but pursued by the attentions of the paladin Orlando, whose ardours she has fled, at the same time losing touch with her beloved. As the drama begins, Orlando, whose mentor Malagigi has instructed him to take possession of Merlin’s ashes in order to destroy Alcina’s power, has just arrived on the enchanted island.


Astolfo, Orlando’s faithful companion, is already there, having fallen victim to the sorceress’s perverse love. John RutterTrinity College Choir Cambridge, Stephen LaytonHerbert Howells was acutely sensitive to the transience of life, having witnessed the loss of friends and contemporaries in the First World War and encountered deep personal tragedy when his son Michael died of polio at the age of just nine. 7, S101London Philharmonic Orchestra, Sir Georg SoltiVon der Wiege bis zum Grabe, symphonic poem No. 1-19: excerptsBudapest Festival Orchestra, Ivan FischerHaving made revolutionary changes, during the 1830s and 40s, in both piano performance and composition, Liszt was hardly less innovative in his relationship with the orchestra.
He is generally credited with having created the genre of the symphonic poem, in which a narrative or extra-musical idea is depicted within a structural framework usually associated with an abstract symphonic movement. In 1974 and 1977 Sir Georg Solti recorded five of the composer’s Tone Poems as well as the Mephisto Waltz No. Recently reissued in the (limited) Liszt Edition, they are now made available generally as a 2CD set.
The coupling is a much-praised version of the Liszt Hungarian Rhapsodies, in orchestrations by both the composer as well as Doppler, by Ivan Fischer, considered one of the most important conductors of our time.


The interpretations were unforgettably described by Gramophone, on their first appearance, as ‘frisky as foals and as flavoursome as goulash’.
Even though he grew up in a family in which German was spoken, and although he left Hungary at a young age, Liszt regarded himself as a Hungarian, and he took considerable pride in that fact.
He promoted the idea that Hungary’s true national music was the music of the Gypsies, not realising that many of the melodies played by Gypsy bands were in fact composed (but not written down) by Hungarian landowners whose families did not appreciate Liszt’s misattributions – particularly because the Gypsies were not highly regarded in Hungary.
1-6, HWV312-317Concerto Copenhagen, Lars Ulrik MortensenConcerto Copenhagen, led by Lars Ulrik Mortensen, are the leading Scandinavian ensemble specialising in historical performance practice.
They are regarded throughout the world as one of the most remarkable and resourceful orchestras in their field and cpo are delighted to welcome them on board for a recording of Handel’s Concerti Grossi op.



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