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Performer: Werner Güra

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PittsburghBeethoven's Ninth

Leshnoff, Beethoven
Pittsburgh Symphony Orchestra; Manfred Honeck; Michael Rusinek; Nancy Goeres; Christina Landshamer; Jennifer Johnson Cano

BonnAn oratorio for cheerful people

An oratorio for cheerful people
Schumann: Das Paradies und die Peri, for soloists choir and orchestra
Jérémie Rhorer; Sarah Wegener; Katja Stuber; Valentina Stadler; Werner Güra

ViennaBach & Mendelssohn Bartholdy

Bach, Mendelssohn
Vienna Symphony Orchestra; Johannes Prinz; Regula Mühlemann; Robin Johannsen; Wiebke Lehmkuhl; Werner Güra

ViennaSchubert Messe

Fauré, Schubert
Vienna Symphony Orchestra; Johannes Prinz; Maria Bengtsson; Claudia Mahnke; Maximilian Schmitt; Werner Güra

LondonWerner Güra

Werner Güra; Christoph Berner
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Exploring late Bartók and Schubert in Cleveland

Franz Welser-Möst, Mitsuko Uchida and The Cleveland Orchestra © Roger Mastroianni for The Cleveland Orchestra
Franz Welser-Möst thoughtfully paired Schubert’s final mass with Bartók’s final piano concerto, the latter featuring Mitsuko Uchida in her 100th Cleveland Orchestra appearance.
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The turning of Haydn's Seasons in Philadelphia

Matthew Rose © Lena Kern
An energetic Haydn Seasons for the Philadelphia Symphonic Choir and Orchestra.
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A Lenten lament: St Matthew Passion

Bach is music for the soul, and when excellent musicians are performing it, it cannot fail to be beautiful. Thanks to the considerable strengths of the many involved, there is really no better way to spend a weekend in Lent than lamenting through a Bach Passion in the Konzerthaus. 
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Laurence Equilbey brings intense and dramatic Zelenka and Mozart to the Salle Pleyel

With the brilliant chamber choir Accentus and the recently formed period orchestra Insula behind her, Laurence Equilbey knows how to immediately captivate and move the modern listener.
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Serenade: Royal Northern Sinfonia continue their Britten-Mozart series

One of the challenges facing performers, and listeners, of Britten’s music is the availability of the superb recordings that Britten made, often with the musicians for whom the music was written; performers have to take guidance from the recordings without slavishly imitating them, and us listeners (and reviewers even more so) have to be alert to the danger of making comparisons.
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