The Prague Philharmonic choir join over a dozen others who have recorded Rachmaninov’s All-Night Vigil, a work once thought the special property of the Russian choirs who are, of course, prominent in the lists. The Czechs sing it without a cantor, and more as a concert work than some of the others do. Though they take the famous scale in the Nunc dimittis, descending to a profound B flat, in their stride, they are not as sonorous as some others, and their particular contribution is to sing the music lightly and flexibly, with a lively response to the words. They have excellent sopranos, safe in intonation when attacking the exposed high entries in thirds which are a feature of the music, and a good tenor for the three numbers that involve him as a soloist. The Magnificat, with all its tempo changes and shifts of register, is expressively done, as are the light rhythms of ‘Blessed art Thou, O Lord’.
A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.
Although Sergei Rachmaninov considered himself first and foremost a composer, the last two decades of his life found him knee-deep in his “second career” as a touring concert pianist and recording artist. In 1992, RCA Gold Seal brought out all of Rachmaninov’s recorded performances in a 10-disc set, now reprinted as a space-saving budget box.
This release - set for March 2017 - is a piece of history: it is a combination of unreleased and historic audio and visuals. It allows a unique view of the enigmatic maestro Grigory Sokolov’s life because it offers an opportunity to hear authentic performances from over ten and even twenty years ago accompanied by a brand-new film by Nadia Zhdanova.
A lot has been said about Anna Moffo's early vocal decline and mismanaged carreer but let's not forget what a lovely singer she was in her prime. This recital from the early 1970's let us hear "late Moffo" though she was not yet 40. There is a slight hoarseness and unsteadiness in the voice that was not present in earlier recordings but it is still by any means a beautiful instrument used with skill. This recital also reminds us what a verstatile artist she was - she sings arias from the italian bel canto and verismo repertoire, french lyric and also german operettas and she passes from one to the other with considerable naturalness, ease and charm..