Latest recording news
New Mozart recording with Seong-Jin Cho
A new recording with Korean piano star Seong-Jin Cho, winner of the 2015 Chopin Competition, is released on Deutsche Grammophon. Led by Yannick Nézet-Séguin, this is a recording of Mozart’s Piano Concerto No. 20 K466 and Sonatas No. 3 and No. 12 made during our residency at the Festpielhaus in Baden-Baden in July.
‘Orchestra of the Year’ nomination
We are truly delighted, moved and honoured to have been nominated with seven other terrific ensembles for the 2018 “Orchestra of the Year” Award by Gramophone. As the only chamber orchestra amongst the seven other terrific ensembles, the COE has been selected by Gramophone’s editors in recognition of excellence and for its outstanding works on record over the past year.
COE’s nomination is based in particular on our recordings of the Mendelssohn Symphonies with Yannick Nézet-Séguin (Deutsche Grammophon), the album Visions of Prokofiev with Lisa Batiashvili (Deutsche Grammophon) and the Mozart Piano Concertos No 25 & 27 with Piotr Anderszewski (Warners). All three recordings were shortlisted in different categories for this year’s Gramophone Awards as well.
Release of La Clemenza di Tito
Our residency at the Baden-Baden Festspielhaus this year for the concert performances of The Magic Flute coincides with the release of La Clemenza di Tito, following last year’s recorded performances. Yannick Nézet-Seguin and Rolando Villazon were joined by a stellar cast featuring Joyce DiDonato, Marina Rebeka, Regina Mühlemann and Tara Erraught. This next addition to the live recorded Mozart series was released by Deutsche Grammophon on 6 July.
“With their lively phrasings and sharp attack, there’s also something refreshingly surprising about Nézet-Séguin and the Chamber Orchestra of Europe. After the supercharged overture it’s a shock to land on just a fortepiano and cello preparing us for the first recitative, where Vitellia lays out her brilliant plan to set the Capitol on fire and get Tito killed in the rumpus. La clemenza di Tito may never become anyone’s favourite Mozart opera, but this recording brings its drama roaring to life and scotches the work’s old reputation as a dry dud.” – Times
Visions of Prokofiev with Lisa Batiashvili
We are grateful that Lisa Batiashvili has chosen to work with the COE for her latest album “Visions of Prokofiev”, which has won an Opus Klassik Award (formerly ECHO). She explained her choice in various interviews, recalling the recording sessions as her most memorable musical experience in The Strad of February 2018. Speaking to BBC’s Clemency Burton-Hill, Lisa said the following:
“The very unique sound this orchestra can make is how I imagined the ideal version of these works would sound. Yannick gives a lot of freedom to those musicians to express their own individuality, proving it is possible to be an orchestra with a chamber music attitude. There is great generosity in their playing: they have an incredible timeless style which means it doesn’t belong to any fashion or school. That is something I long dreamed of having for this recording.” – BBC Music Magazine
The album has won the 2018 Opus Klassik (formerly ECHO) for best violin concerto recording.
Mozart Piano Concertos with Piotr Anderszewski
Piotr Anderszewski recorded the pairing of Mozart’s Piano Concertos Nos 25 and 27 with the COE in the summer of 2017 following a series of concerts in which he directed the Orchestra from the keyboard. The album is now shortlisted for a Gramophone Award in the ‘concerto’ category and was already selected by the German circle of music critics in their second ‘Bestenliste‘ of this year. The recording continues receiving further critical acclaim in the press:
“The playing of the COE is beyond reproach, as is the profound sense of collaboration between players and soloist throughout.” – Limelight Magazine
“It is the intimacy of [Anderszewski’s] rapport with the (sadly uncredited) wind soloists of the COE that makes this issue so special. His pristine finger work is always at the service of the score in continuous dialogue with the orchestral musicians, but he brings personal touches to these frequently recorded pieces. […] One listens with refreshed ears to this familiar music.” – The Sunday Times (£)