This latest version of Gluck’s masterpiece is something of a double hybrid: its starting point is the Berlioz version, which combines what Berlioz regarded as the best of the Italian original and the French revision (and using a contralto Orpheus), and then it is modified further, with a number of reorderings and some music restored, as well as revised orchestration. It isn’t very ‘authentic’, in terms of Gluck No. 1, Gluck No. 2 or Berlioz, but that of course doesn’t much matter as long as it works.

Reference Recordings is proud to present The Complete Beethoven Piano Concertos played by Grammy®-winning Garrick Ohlsson, performing with the Grand Teton Music Festival Orchestra, conducted by Sir Donald Runnicles. This album was recorded during live Festival performances in July 2022.

For one of Bellini's less popular works, I Capuleti has seen a remarkable number of recordings, with some of the starriest stars in the operatic firmament taking part. A self-recommending and self-damning bastardized version from the 1960s in which the role of Romeo was transposed from mezzo to tenor (by Claudio Abbado) can still be found with Giacomo Aragall as Romeo, Renata Scotto (or Margarita Rinaldi, in another pirate) as Giulietta, and Luciano Pavarotti as Tebaldo. Muti's set with Gruberova and Baltsa manages to be both exciting and sterile at the same time, a couple of other entries have come and gone (where is the Sills?), and the only competition for this current release is RCA's with the marvelous, expressive Vesalina Kasarova as Romeo and the pretty, fragile Giulietta of Eva Mei. But for my ears, this one, handsomely led by Donald Runnicles, takes the lead.