They report:
Kopatchinskaja, Currentzis and others take pieces from the past, and make them modern
In his feature about Patricia Kopatchinskaja in the new issue of Gramophone, Andrew Mellor recalls her appearance at the Gramophone Awards in 2012. There have been many memorable performances at our annual event, but this is one that seems to get mentioned to me more than most. Perhaps this is because it was the first time many present had seen or heard (or even heard of) her. Which would have mattered little if the performance hadn’t been quite so compelling: it thrilled, fascinated and stuck in the mind. Just as music-making should do.
At any rate, it paved the way nicely, if coincidentally, for Kopatchinskaja to win Recording of the Year 12 months later. And it means that every time a new recording by her is released, we (and I hope you too) greet it with intrigued anticipation. Her recordings haven’t all been acclaimed in our pages, but then artistry which seeks to challenge and explore afresh will often divide opinion. Her new disc, ‘Deux’, is triumphantly true to what she stands for. If, at Gramophone, one of our aims – I’d argue responsibilities – is to champion the younger artists really setting out to rethink and shape the way we hear music, then I can think of few musicians more worth celebrating than Kopatchinskaja.
It doesn’t stop there. Last issue’s Recording of the Month was an extraordinary release by conductor ......
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