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Customer reviews

4.1 out of 5 stars

on 1 March 2013
These are quite superb performances of these concertos . K595 is just masterful . Many might find the Larghetto a little faster than they are used to but the pellucid tone and immense sensitivity of Pires' playing does not make it seem at all perfunctory .

At every turn there is delight - Abbado and the Orchestra Mozart accompany her sympathetically and with HIPP style but unlike their symphony recordings which I did find a little bloodless there is warmth too .

These are , in my opinion , superb renditions of these concertos - K466 is appropriately stormy and passionate without being romanticised . Just compare them with Uchida's recent Cleveland recordings which are a mannered disappointment in comparison.

Very strongly recommended .
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on 14 May 2013
It is difficult to justify yet another recording of these two Mozart Piano Concertos in such a crwoded field of fine performances but somehow Pires and Abbado brush that to one side with performances which sparkle from beginning to end. There is a strong feeling of empathy between conductor and soloist and Pires provides moments of rare beauty and exquisite poetry in her playing as wll as providing a freshness of interpretation for thes well known pieces.
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on 29 April 2016
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on 9 January 2016
quite fabulous
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on 8 October 2015
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on 17 September 2015
I'm surprised to be so disappointed with this CD, as the Pires-Abbado combination works so well in their recordings of concertos 14, 17, 21 and 26, which are among the gems of my library. But here K466 is operating at far too low a voltage. The performance is refined, polite, too manicured, too 'nice', and completely lacks the almost reckless vehemence that Mozart's D minor style requires. K595 goes well, but the failure to project K466 with the necessary force makes this disc unrecommendable.

If anyone can recommend a truly vehement performance of K466, I'd be grateful. Abbado and Pires are not the only performers to let this concerto down, and I'd love to hear it done with the fullest possible impact.
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on 28 February 2013
Abraham Lincoln was not only the Sixteenth President of the United States of America. According to some, he was also a Vampire Slayer of note. If so, his services are required. Resurrect him at once! An adversary worthy of his mettle is at hand.

No, I am not referring to the usual Period Practice Nosferatus - the likes of Jeggy, Rene Jacobs, Pale Bill Christie, Corporal Hogwood and what not: Abe - don't waste Holy Water on these lightweights. No, a genuine Vamp lurks in the twilight of the recording studio: Count Claudio Abbado the Impaler.

Athirst for sanguinary feasts, Abbado loves to sing his fangs into Mozart and suck him dry until he is an anaemic imitation of the composer whom we adore. Under his tutelage, the so-called Orchestra Mozart is transformed from a ordinary HIPster ensemble into a ordinary chamber-orchestra playing at modern-day pitch (listen to their barnyard yapping at 1'09", 1'19" and 1'28" in the prelude of K 595 - the strings are also regularly monstered by the flautist and the phrasing at 2'37" in the first movement is hideous). Even if she is no Gilels, Pires is musical (she does not use a lot of pedal) but the innate vitality of these scores is drained away by timidity. The recording is clear enough albeit a tad recessed - which renders the bloodletting more gruesome.

This is an update of Mozart as a Dresden China figurine. Hélène Grimaud refused to perform any more Mozart Piano Concertos with Abbado. I would like to think that the fiery French pianist had had enough of his Pale Rider ways.

Four stars for Pires, one star for the Impaler and his "Orchestra Mozart".

Abe - sharpen up that crucifix!
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