Recordings
Monteverdi: Il ritorno d'Ulisse in patria
Linn Records
Released: May 18, 2015
Catalog Num: CKD451

Latest recording from Martin Pearlman with Boston Baroque on Linn Records - a new performance version of Claudio Monteverdi’s  great opera, Il Ritorno d’Ulisse in patria. (For Pearlman's discussion of his new version, with musical examples, please see link below.

Ulisse (Ulysses) - Fernando Guimaraes
Penelope, wife of Ulysses - Jennifer Rivera
Telemaco (Telemachus), son of Ulysses - Aaron Sheehan
Minerva - Leah Wool
Tettuno (Teptune) - Joao Fernandes

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Haydn Lord Nelson Mass/Symphony No. 102 in B-flat Major
Linn Records
Released: October 7, 2013

"This was simply a magnificent performance, played with astonishing precision and led with authority by Martin Pearlman." - The Boston Globe

"The orchestra, in both the Mass and the symphony, play with a justified delight in this life-affirming music."-Sunday Times (UK)

 

"This is a thoroughly compelling account of this remarkable mass." - International Record Review

"The desirability of this recording is only compounded by the terrific reading of the 102nd Symphony . . . Pearlman and forces give it a splendid go, full of pizzazz and captivating lyricism and phrasing. This is a wonderful release . . ."
-Audiophile Audition

"From the very first timpani stroke on the downbeat of bar one, I sensed this was going to be a really outstanding performance. But "outstanding" doesn't begin to capture how different and special it is. . . everything about this release, from the stunning performances to the phenomenal recording makes it impossible to resist." -Fanfare

 

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Haydn, The Creation
Linn Records
Released: January 1, 2012

"I haven’t been counting, but I’ll bet there have been a hundred recordings of The Creation. This one stands comfortably at the pinnacle . . . About once a decade have I found the recording, one that has everything: Willem Mengelberg’s (Telefunken) Franck D Minor, Otto Klemperer’s 1954 mono “Eroica,” David Willcocks’s “Lord Nelson” Mass, Klaus Tennstedt’s (pirate) live BSO Schubert Ninth, George Szell’s Schumann Second, Riccardo Chailly’s Gurrelieder, James Levine’s Prokofiev Fifth. Martin Pearlman’s Creation joins that list.

This Creation has, from its orchestral introduction, an essential rightness-of mood, sonority, drama, tempo... Martin Pearlman realizes the work’s character of being very serious yet radiantly joyful... ... Above all, the lofty spirit of the whole is thrilling..."  -Fanfare

"...this recording should be considered a sure point of reference for anyone who wants to, in the future, dealing with Haydn's masterpiece." -Criticaclassica.com (translated)

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Monteverdi, Vespers of 1610
Telarc International
Released: January 1, 1998

1998 GRAMMY NOMINEE: Best Performance of a Choral Work


“Stunning accomplishment” —Fanfare


“Everything is beautifully played and sung... You begin to understand why Boston Baroque is perhaps the outstanding period-instrument ensemble in this country.” —Stereo Review

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Handel, Messiah
Telarc International
Released: January 1, 1992

1992 GRAMMY NOMINEE: Best Performance of a Choral Work

“The Number One Recording of Messiah” —Classic CD, Christmas 1997

"Behold I tell you a mystery: the history of recording has not seen a more beautifully styled or elegantly sung Messiah than this one."
Detroit News and Free Press

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Bach, Orchestral Suites
Telarc
Released: January 1, 2003

Released during Boston Baroque's 30th anniversary season

“Boston Baroque's virtuosity and élan leaves little to be desired... How good to be welcoming a US-based period instrument ensemble into a fold traditionally occupied by European ensembles.” —Gramophone

”Rousing readings... The recording is as fine as the performances, which is to say, remarkable.” —Amazon.com

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Mozart, Symphony No. 41 (Jupiter) and Flute Concertos (with Jacques Zoon)
Telarc
Released: January 1, 2005


"A superbly balanced reading of this glorious [symphony]. The second movement unfolds with elegance and the Menuetto swings lyrically. The famous finale...is spotlessly played and articulated. Jacques Zoon... offers up both virtuosity and charm." —Amazon.com (editorial review)

"Pearlman and his ensemble make the Symphony No. 41 in C major, K. 551, "Jupiter," sparkle with the timbres of original instruments, and give it a good shaking with brisk tempi and compelling forward momentum. ... Pearlman's "Jupiter" brilliantly makes the case for authentic period practices and shows how exciting this masterpiece is when played with smaller forces, sharper details, and greater speed. Telarc's DSD recording has never sounded better." -AllMusic.com

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Bach, Brandenburg Concertos
Telarc
Released: May 1, 1993


"Thoughtful, sensitive, stylish and joyous." —Gramophone


"This is a set of Brandenburgs to treasure and it belongs on the shelf of every Bachophile or lover of the Baroque."
Fanfare


"Pearlman's interpretations have a vitality and alertness to style that should assure them an honored spot on the crowded shelves of familiar baroque CDs for a long time to come."
The Washington Post

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Gluck, Iphigénie en Tauride
Telarc
Released: January 1, 1999

This is the first recording of Iphigénie en Tauride to be made with a period instruments ensemble.

Included on Disc Two is a commentary on the opera by Boston Baroque founder and director Martin Pearlman.


"This superb production is cause for celebration... Takes pride of place among readings of Iphigénie en Tauride, if not among all Gluck operas on record." —Billboard Magazine


"A splendid recording... Pearlman is a Gluckian through and through, and it shows in every note of this enterprise." —Fanfare

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Mozart, Requiem (completion by Robert Levin)
Telarc
Released: October 30, 2006


"Their new recording of the Requiem is a knockout... I would place it alongside the best recordings of the Requiem now available." —Fanfare


"Boston Baroque's performance is incisive, nuanced and lithe, the choral singing resonant, accurate and textually clear."
The New York Times

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Vivaldi, The Four Seasons/Geminiani: Concerto Grosso Nos. 4 & 12
Telarc
Released: January 1, 2009


"Under Pearlman, Boston Baroque's playing combines supreme technical precision with unexpected psychological depth... Certainly, Martin Pearlman has found the ideal collaborator in [violinist] Christina Day Martinson. This is story-telling par excellence."—Gramophone (UK)

 

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Vivaldi Gloria and Bach Magnificat
Telarc
Released: January 1, 2006


"The joyous music surges with energy. The brilliant players and the exuberant chamber chorus achieve near-perfect balance. Tempos are brisk, rhythms swingy, phrases crisply articulated, dynamics expressive... spirited interpretations."
The Cleveland Plain Dealer


"This release may be the find of the year... Pearlman's readings are varied and engaging." —American Record Guide


"Under their inspirational director, Martin Pearlman, Boston Baroque have justly received Grammy nominations... Now this seraphic ensemble lavishes its celestial charms on Vivaldi's wonderful Gloria... Rarely are performers and repertoire so perfectly matched." —The Observer (UK)

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Handel, Concerti Grossi, Op. 6
Telarc
Released: January 29, 2008


"These are wonderful performances that I would put up against any comers, either on period instruments or modern."
Fanfare

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Handel, Water Music and Music for the Royal Fireworks
Released: January 1, 2007


“Colorful, expert, and spirited.” —American Record Guide


“Crisp...winning lightness...warmly recommended”
Gramophone

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Lost Music of Early America: Music of the Moravians
Telard
Released: September 29, 1998

 

“This recording is a triumph.” —Early Music America Magazine

 

"Performances of relatively simple (liturgical) music by professional musicians can very easily go very wrong. Any artificiality and any virtuosity are totally out of place in this context. I am full of admiration for the artists who perform the Moravian repertoire here. They are able to keep it simple and fully concentrate on communicating the religious spirit of the music. At the same time it is important that this repertoire gets excellent performances, which reflect the high quality of music-making in the Moravian communities of the 18th century. Only through top-notch performances and the use of period instruments and performing techniques will the real character and full quality of these compositions be revealed.

The booklet contains informative programme notes and the lyrics, with an English translation of the German texts. I recommend that you listen to the spoken explanation by Martin Pearlman on the second disc, with musical illustrations.

This is a fascinating sound document of a religious tradition which is otherwise hardly known. It is also a fine tribute to the faith and art of the Moravian communities in America, and I sincerely hope their music will be further explored in the future." -MusicWebInternational

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Cherubini, Requiem (plus Marche Funebre and Beethoven's Elegischer Gesang)
Telarc
Released: January 8, 2007


"A fine performance of a work admired by Beethoven, Berlioz and Brahms." —Gramophone


"Pearlman believes strongly in this work... The chorus sounds marvelous... and the period instrument orchestra plays with vibrancy and precision." —The Boston Globe

 

"In the early nineteenth century, Luigi Cherubini's Requiem in C minor (1816) was often compared to Wolfgang Amadeus Mozart's Requiem in D minor, which preceded it by 15 years. In our own time, the recordings of these works by Martin Pearlman and the Boston Baroque afford us an opportunity to consider them side by side; because both are historically informed performances on authentic instruments, of works that are similar in substance and form, comparisons are reasonable. Of course, this 2007 Telarc presentation of Cherubini's Requiem has the same splendid sound and exceptional reproduction of the Mozart recording, which was released in 1995 by the same label. The performances in both cases are extraordinary: Pearlman and his ensemble are especially sensitive in sacred repertoire, and the expressions of both the choir and the orchestra approach the sublime." -allmusic.com


"The foremost period-instruments ensemble in the United States and one of the premier groups in the world."
—Deseret News (Salt Lake City)

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Bach, Mass in B minor
Telarc
Released: February 22, 2000


2000 GRAMMY NOMINEE: Best Choral Performance


“One of the finer accounts of the B minor Mass currently available on disc” —Amazon.com

“A perfect balance of intimacy and grandeur throughout...”
bn.com

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Mozart, Music for Male Soprano
Telarc International
Released: February 1, 2010

“Here, with the superb Boston Baroque... Maniaci sings arias written by Mozart for castratos...with heartmelting expressivity.” —Pittsburgh Post-Gazette

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Mozart and others, The Philosopher's Stone (Der Stein der Weisen)
Telarc International
Released: January 1, 1998


WORLD PREMIERE RECORDING


“Editor’s Choice” —Opera News


“The standard of performance...rises frequently to the level of the spectacular.” —Fanfare

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Mozart, The Beneficent Dervish; The Impresario; Mozart's Circle,
Telarc
Released: January 1, 2002


WORLD PREMIERE RECORDING: The Beneficent Dervish


FIRST PERIOD INSTRUMENT RECORDING: The Impresario


“Pearlman...leads the Boston Baroque with fire, wit, and precision in both pieces.” —Opera News


“Here's news indeed. Martin Pearlman and Boston Baroque have beaten others to the punch and recorded the first Impresario (or, to give it its German title, Der Schauspieldirektor) on period instruments. That's interesting enough, but the last two-thirds of the disc are devoted to a Singspiel never recorded at all, and probably not even performed since 1791: The Beneficent Dervish (or Der wohltätige Derwisch).

...

Pearlman has assembled a perfect cast... Strongly recommended” —Classical.net

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