Following his critically acclaimed recording of Mendelssohn’s Symphony No.2, Spanish conductor Pablo Heras-Casado returns with Symphonies Nos.3 and 4, this time leading the Freiburger Barockorchester. Both works have origins in the composer’s 1829- 1831 tour of Europe. Symphony No.3, sometimes called the “Scottish” symphony, was inspired by a visit to the ruined Holyrood Chapel in Edinburgh in 1829. It was not completed until 1842, making it, chronologically, the last of his five symphonies. Symphony No.4, called the “Italian” symphony, was born of the color and atmosphere of Italy, and was completed in Berlin in 1833.
This marks Rolando Villazón’s directorial debut in a dual-role: stage director and star singer (main role Nemorino) at the same time, and it is a clear WINNER. Inspired by the cartoon character Lucky Luke and the Spaghetti Western-tradition, the tenor’s staging for the Baden-Baden Festspielhaus is not only a film studio in the thirties but also a Western at the same time. Lead by the dynamic young conductor Pablo Heras-Casado, who “…conducts very singer friendly” (Online Musik Magazine). Extraordinary visual production, and one of the most memorable European operatic events of 2012.
The versatile Spanish conductor Pablo Heras-Casado, whose international profile has been rising in leaps and bounds in the past couple of years, seems to tackle all genres with alacrity, but Baroque period-instrument performance is his main calling card. He's a great choice, then, for the re-launch of Deutsche Grammophon’s Archiv Produktion imprint, with this disc of orchestral music associated with Farinelli’s long tenure at the Spanish court -much of it dug out of archives and recorded for the first time…
An exceptionally fine performance of the Mendelssohn string quintets by Jaime Laredo, Ani Kavafian, Heiichiro Ohyama, Kim Kashkashian and Sharon Robinson can be found on CD45883 (61 minutes: ADD). These are rhythmically alert and spirited readings, played with great charm and eloquence. They are an especially welcome addition to a catalogue that sports no rival version of No. 1 and only one of No. 2. The 1978 recording is one of the best in the batch, exceptionally well balanced with a fine feeling of depth and presence. Strongly recommended. (Gramophone)