‘Mozart, You Drive Me Crazy!’ This is the title that the South African soprano Golda Schultz has decided to give to her new album, devoted to the female heroines of Don Giovanni , Così fan tutte and Le nozze di Figaro , roles that have marked her career from Berlin to The Metropolitan Opera: ‘Why does Mozart drive me crazy? First of all, because his music, which sounds so easy when you listen to it, is extremely difficult to perform… And when I immerse myself in the world of Da Ponte and Mozart, I realise that there’s a deep complexity to their female characters: they endure the toughest trials, but they also display great strength. In fact, these operas explore humanity from the feminine perspective: every single one of these women is constantly evolving. They show how human beings transcend trauma and how grief and pain can be overcome.’

Swedish soprano Lisa Larsson is among the most versatile singers on the European scene, with a repertory stretching from the Baroque to contemporary music. This coherent and innovative program features two cantatas and a song composed by Berlioz between 1828 and 1830. One of the stars of today singing, Lisa Larsson finally approaches French romantic repertoire.

This cello concerto is a miracle, both for the listener and for the soloist. The listener is swept along through unexplored terrain. The instrumentation stands out - even for a master like Robin. For a cello, Robin's concerto is innovative and challenging from a technical point of view. The premiere with Yannick and the orchestra was like a celebration - you can hear it. New work only reveals its secrets after a lot of listening, so it is fantastic that this recording is being made.

In the summer of 1788 Wolfgang Amadé Mozart (1756–91) wrote what from any standpoint is an extraordinary set of three symphonies – as Jarno says in Goethe’s Wilhelm Meister’s Apprenticeship, people “do extraordinary things without respecting orderliness”. It was presumably not Mozart’s intention that this group of symphonies should remain his final word on the subject, and a weighty one at that. Despite every setback, it tells of a time of new departures, not of valediction. Only three years later, during which time he had written many other masterpieces, death snatched the pen from his hand. He was
only thirty-five…