Sophie

Yes, it's quite a claim. And yes, there's lots of room for argument. But, being an aficionado of Bach, classical violin, and JSB's violin concertos in particular, I'm willing to put my nickel down on Ms. Mutter's recording, especially of the A minor concerto.

From the opening notes, the piece is played with a sureness that never wavers, but doesn't play it as if strength was the most important quality. There's more body--and soul--in Mutter's version than in any other I've heard, and it successfully elevates the listener to the plane Bach intended. Mutter conducting as well as playing is no doubt key to the achievement. The A minor concerto simply cannot be played better than it is here, and the accompanying work by the Trondheim Soloists is magnificent.

The E Major concerto is just as sure and deft, but slightly less free and full than the A minor. Still stellar, it doesn't--by the barest of margins--maintain the coherence that Mutter and accompanists achieve in the A minor piece.

The disc concludes with the first-ever recording of Sophia Gubaidulina's "In tempus praesens", written by the Russian-living-in-Germany Gubaidulina as a work commissioned for Mutter. Written in 2006-07 after having been commissioned in the '80s, and first performed only in 2007, I believe, Mutter and the London Symphony, conducted by Valery Gergiev, here give an inspired performance of the the work. Gubaidulina is said to be highly inspired by Bach, and equally religious, and the work grows organically in a progression of struggle between good and evil as well as fate and free will. In five movements, the listener experiences the battle and feels the possibility of loss and defeat before finally having the sweet high of triumph.

Although allegedly inspired by Bach, the piece by Gubaidulina is decidedly modern, and only the faintest echoes of the baroque master are to be found. Though so decidedly different from the old and familiar Bach concertos, the Gubaidulina succeeds surprisingly well in this context.

If one is at all appreciative of Bach, this recording will reward the listening effort with art unsurpassed, and the experience of the culminating commissioned work by Gubaidulina is uniquely sweet. Mutter has with this established herself as one of the all-time masters.

This is a wonderful production because it combines the old and the new in the best artistic manner. Anne Sophie Mutter leads us thru a very powerful and rich Violin concerto, a composition of J. S. Bach. Sofia Gubaidulina has been one of my favorate "modern" composers for a long time and I know her work very well. She dedicated the Violin Concerto "In Tempus Praesens" to A.S.Mutter. It is an intelligent and deeply movimg piece, portraying our time, as says the title. Two congenial women at their best!
Yael Niemeyer

Beautiful and masterly matched are these two Bach's concertos with Gubaidulina's last violin concerto. These performances are enhanced by the magic and personal touch of Anne-Sophie Mutter in the interpretation of the three concertos. Personally I like the "new old way" of approaching Bach and the wonderful feeling transmitted during the whole development of Gubaidulina's concerto. The company of the Trondheim Soloists in Bach and Valery Gergiev with the London Symphony orchestra in Gubaidulina are detached and emphasized when soloists or the whole orchestra joins the soloist.

"I am a religious person...and by 'religion' I mean re-ligio, the re-tying of a bond...restoring the legato of life. Life divides man into many pieces...There is no weightier occupation than the recomposition of spiritual integrity through the composition of music." --Sofia Gubaidulina

"In tempus praesens" (2007 -- 32'45) is an absolutely stunning new violin concerto. Promised long ago to Anne-Sophie Mutter by Sofia Gubaidulina, it was finally finished in 2006/2007, and premiered at the Lucerne Festival in August 2007, performed by Mutter and the Berlin Philharmoniker with Simon Rattle conducting. For this premiere recording Valery Gergiev leads the London Symphony Orchestra. The now 77-year-old composer has been intimately involved in both of these premieres, supervising the rehearsals and insuring that her vision is conveyed.

"In tempus praesens" features a nearly unbroken solo line, a virtuoso vehicle for Mutter and surely many others to come. Though seemingly depicting a spiritual journey like her first violin concerto Offertorium (1980 -- 35'34 -- see my review), this new piece presents the soloist with less orchestral accompaniment, perhaps more purely. The orchestra menaces periodically, but not with as much vehemence as in the earlier work. And if the ending is not entirely unambiguous, the radiant rising tones of the violin nonetheless sound victorious. For Gubaidulina music always conveys a deep spiritual significance and, no matter how much she has been influenced by Webern, there is always a clear meaning to every note -- though there are no lyrics, this is not abstract, non-representational music. There are tones for good (generally high and major key), and for evil (generally low and minor key). An Orthodox Christian, her vision is practically Zoroastrian in its binary purity -- Light versus Darkness.

The two Sophies, Sofia and Anne-Sophie, seem to see it as natural to include violin concertos by Bach along with Gubaidulina, as Bach is a major influence on the Russian/Tatar composer. However, the music does not sound at all similar, structural or harmonic influences notwithstanding. It seems more likely to me that this was a marketing decision -- Bach will clearly outsell Gubaidulina, and so more people will probably buy this as a Mutter disc, or a Mutter/Bach disc than as a Gubaidulina or Mutter/Gubaidulina disc-with-Bach-thrown-in like me. On the bright side, this may mean that Sofia gains more listeners than she would otherwise. But we can still regret that Anne-Sophie did not record a new performance of "Offertorium" for this DG release.

As for the Bach concertos, they sound great. The melodies are instantly recognizable, some of the most memorable in all of classical music. Both of these works were later turned into keyboard concertos by Bach as well -- the recordings by Murray Periahia and the Academy of St. Martin in the Fields of the "Concerto No. 3 in D Major" (Violin Concerto for E Major) and "Concerto No. 7 in G Minor" (Violin Concerto in A Minor) are sparkling and wonderful (Bach: Keyboard Concertos Nos. 3, 5, 6, 7).

All in all, one of the classical recording events of the year!

See my list SOFIA GUBAIDULINA: A LISTENER'S GUIDE for more by one of the best composers of our time, as well as my list THE TEN BEST LATE 20TH CENTURY COMPOSERS.

I had the pleasure of listening to Anne-Sophie Mutter play the JS Bach violin concertos BWV 1041, BWV 1042 and BWV 1043 during her recent concert in East Lansing, Michigan. So I had to get this CD when I found out about it. I thought the recording was excellent, although I still preferred the live performance. Then I compared this with her previous recording with EMI. This newer DG recording is still Anne-Sophie, but I found her playing to be more mature and sublime.
Not knowing what to expect of Gubaidulina, it took me two listenings to appreciate it. On the second listening, I found myself floating in a meditative state! Thank you for the music, and thank you for the experience.

"I have to admit that when I made my first record, I knew very little about music. It was a hobby, a passion. But since the release of that record almost three years ago, music has become so much than a hobby and a passion. It has evolved into the best reflection of my experiences, emotions, and life. The last three years have been the most intense, stressful, difficult, turbulent, exciting, rewarding, and successful years of my life so far, and 'Make Someone Happy' is the product of all that. Making this record was a sort of a therapy." ~ Sophie Milman ~

That being said, Sophie Milman has truly developed into a fine jazz singer in such a short period of time and has earned her first major award at the 2008 Juno Awards for Best Jazz Vocal Album of the Year for this album. Recorded and released in 2007, "Make Someone Happy" is a follow-up to her successful debut self-titled album, Sophie Milman [IMPORT DIGIPAK]. With the influx of contemporary female jazz vocalists singing the Great American Songbook, Ms. Milman, a fairly-new singer, is ahead of the game considering her impressive musical qualities. She has a crystal-clear and powerful voice. Her phrasing is impeccable and her singing is effortless. I believe these are the same qualities to be a great and remarkable jazz singer.

The repertoire is pretty eclectic - contemporary songs mixed with some of the finest standards ever written from the Great American Songbook. Most of the brilliant songwriters and composers in the Tin Pan Alley are represented in this wonderful album, the likes of Rodgers, Hammerstein, Styne, Van Heusen and Burke, to mention but a few.

"People Will Say We're In Love" is the perfect opener for this beautiful presentation where Milman shows off her knack for a light swing number, she also sings "Like Someone In Love" in the same swingy fashion. She then takes the listeners to a warm and cozy ambiance as she sings one of my favorites from this collection, "Something In The Air Between Us" richly flavored with Bossa Nova rhythm and heavily infused with lush string arrangement resulting in a lovely interpretation making it one of the best tracks. Another favorite track with a charming Bossa Nova beat is "Reste" (Stay) sung in French. "Make Someone Happy" and "Fever" are two of the highlights showcasing Milman's clarity of vocals and effortless singing. I love the way she reinvented a famous song from the Guess Who, "Undun" which takes me back in time when it was one of my very favorite songs. She surely gives "Matchmaker, Matchmaker" from the musical "Fiddler on the Roof" a new flair and style that makes it a welcome revival.

My choicest cut is Rodgers and Hart's "It Might As Well Be Spring," which is given the most effervescent treatment that will engage the listeners into the jazziest side of Milman and her band of fine musicians such as Cameron Wallis (tenor sax), Paul Shrofel (piano), Kieren Overs (bass), John Fraboni (drums) and Alan Hetherrington (percussion) who play their respective instruments with so much flair and verve.

My rule of thumb is try not to compare singers with one another, but I believe there's an exception to every rule ... I think there's a bit of Ella Fitzgerald, a twist of Julie London, and a touch of Jane Monheit in her. Moreover, she's one versatile and talented jazz singer, and fabulous at that! What's not to love about this album?

Wholeheartedly recommended.

Sophie Milman is my favorite living Jazz singer!

I don't listen to a whole lot of Jazz but the only singers that I like more than Sophie are June Christy, Anita O'Day, and Peggy Lee. All of them have the advantage of having full careers. Sophie Milman is just starting out.

Unlike most of the other young female singers out today, Sophie Milman is a real Jazz singer. She has a tremendous vocal range and agility and sings with an effortless quality.

There are other singers out there that sell more albums but none are better than Sophie Milman.Make Someone Happy

Packaging gets 5 stars. Performance gets 1. I can best characterize production team as "proam."

great voice and performance. really has a great future. My reason for 4 stars was that some of the song material was weak

I've been in the music biz for a long time in many different areas. I love all types of music but especially jazz. When you've listened to music for as long as I have you kinda get bored by the same old uninspired fluff that is around today. Enter Sophie Milman! This gorgeous young lady is the real deal! I love her smokey voice and her phrasing is beyond words. The arrangements could be a bit better. Each song had the lovely Sophie, bridge, then the lovely Sophie. More adventure, guys. That said, this is a cd I'll be listening to for a long long time!

Nothing more to add.

Other users have said much.

I recommend. Anne Sophie mutter once again made an excellent job.

Anne Sophie Mutter shows her Karajan's legacy. She played in a perfect way. The music she developed is something amazing. Her technique is so mature, very academical, very german.

Mozart violin concertos (most 3 & 5th) are one of the finest creations and this material is so well performed that can provoke addiction to Mutter's recordings (I take for granted that Mozart is very addictive).

Simply Precious.

I wil be brief. These remarable pieces are played beautifully and insightfully by Ms. Mutter. No Mozart worshiper should be without these recordings.

Every so often you find an almost perfect performance and recording that leaves you smiling and shaking your head in awe: Mutter Mozart -- The Violin Concertos and Sinfonia Concertante is definitely one of those.

Ms. Mutter's power, range, and stylistic sophistication are at their acme. She soars ethereally where it's required, sings sweetly in slow rhythms, and pushes forward like a commander where that's what's called for. The London Philharmonic is beautifully in concert with her every move and timing. Yuri Bashmet's viola in Sinfonia Concertante is equally sublime.

For those who first knew Ms. Mutter's Mozart playing when she was but a budding teen, it's fun to see how much her skill and interpretive abilities have expanded in 30 years. It's astonishing to see someone with that much experience can still appear quite young. And of course, there's the irony to appreciate of Ms. Mutter now being older than Mozart was at his death.

Above all this is a confident performance by players who know Mozart well, understand what they want to accomplish, and are in complete accord with what needs to be done. The bright optimism and energy of Mozart are beautifully displayed . . . reminding us with wonder of how his own life was often filled with problems even as he produced such astonishingly bright works one right after the other.

If you like Ms. Mutter and Mozart, I encourage you to purchase this two CD-set and the four CD-set, Mozart: The Violin Sonatas.

I bought this CD set a couple of months back. I'm glad to to say that I've enjoyed it throughly so far. I also have a copy of the rather polished recording of Violin Concertos 3 and 5 that Mutter made with Karajan, and I find the new one seems to have greater energy and emotions. Both the set of recordings are to be cherished in their own right.

The Sinfonia Concertante is to die for! I've not heard a better recording, especially the Presto.

This is an awsome cd. I really enjoy listening to this cd. This is music that is good for driving down the road listening to.

I can't believe it took me so long to discover this great CD and singer.

I have just always liked Sophie's sophisticated, husky voice, and the music tracks in 'I wish I was your Lover' and in 'As I Lay Me Down'. Great songs, nicely performed.

Most of the songs on this album are very self indulgent. That's great if you just want art, but not if you want to sell CDs. There are 2 well known, and listenable songs.

My grandaughter said she loved it. I myself like Now I lay me Down. Haven't heard the other songs.

I bought this recording because Anne-Sophie Mutter's Autumn on her Meditation CD is so lovely -- but that version, as it turns out, was conducted by Von Karajan. The playing on this version is brilliant, but it's just too brilliant for me: the attack is so loud and aggressive that I couldn't settle down and enjoy the music nor even listen to the whole thing. The big lesson for me is to buy versions of her recordings in which she herself is not the conductor. I plan to donate this one to the local library and get the complete Von Karajan version. But in no way is this bad playing. It's just a matter of taste. If you like loud, flashy music, you will love this recording.

I know it's a matter of taste but this recording is so alive and refreshing. Yeah, it's not on period instruments and there are some other really good interpretations out there that you may feel are better. BUT! how can you listen to this and deny it's beauty? Perhaps it's too unconventional. But therein lies the beauty of it. Even if it's unique doesn't make it inferior. Quite the contrary.

Anne-Sophie Mutter plays with grace and vivid expression. The Trondheim Soloists support her like true friends. Even if one argues that it's not true to form, it still is fabulously played in my book. I love it and am proud to keep it in my library along with two or three other fine interpretations of Vivaldi's: The Four Seasons.

It's easy to get used to listening to near-perfect recordings and performances of The Four Seasons. With so many recordings available, you can have your pick of styles.

I remember confidently ordering tickets for a local group's performance of The Four Seasons in Salzburg one summer. How could I go wrong? The performance started off in fine fashion. The soloist was huge, confident, and energetic. The rest of the group was solid and enthusiastic. But after about 12 minutes, the soloist began to come apart at the seams. He couldn't complete the difficult sections in Summer. The group would restart and restart. I was fascinated.

I had almost forgotten that experience when I first listened to this recording. Such violin soloist flubs are unknown in the mature Anne-Sophie Mutter's recordings. But I was astonished to find that her supporting cast of Trondheim Soloists (led by Bjarne Fiskum and including soloists Byvind Gimse, and Knut Johannesen) was apparently playing a different piece, and not very well. Ms. Mutter is also credited as conductor. I suspect that she should have scheduled many more practices.

The recording also has moments when another take would have been in order.

But I learned something valuable from listening to Ms. Mutter soar about the muddled noise: It matters who else is playing with you for The Four Seasons.

If you are an Anne-Sophie Mutter fan (as I am), you'll undoubtedly want to listen to this CD. But I think you'll be more pleased if you limit yourself to the first allegro from Spring from The Four Seasons for 3 minutes and 36 seconds during which the Trondheim Soloists perform okay in the Simply Anne-Sophie CD. Good editing choice there.

I graded Anne-Sophie's playing as a five, the recording quality as a four, and the Trondheim Soloists as a 1.

Only a die-in-the-wool traditionalist will dislike this fine Deutsche Grammophon recording of Vivaldi's "The Four Seasons", which I regard as the best recording of it that I've heard, surpassing classic ones from the likes of I Musici. Indeed, the venerable Penguin Guide to Classical Music not only has given it its highest starred rating, but has noted succinctly that this recording is among the best available. And it's no wonder, considering the superb playing from the great German violinist Anne-Sophie Mutter and the Trondheim Soloists, especially from harpsichord player Knut Johannesen, whose own splendid musicianship ranks favorably with, for example, Trevor Pinnock. I was quite impressed that musically, this relatively unknown Norweigan chamber music ensemble could offer a performance as memorable as any from the English Consort and I Musici, but to their everlasting credit, they have done so in this rather fresh, quite vivid interpretation of Vivaldi's most popular works for harpsichord and strings. As for Mutter, she shows substantial dynamic range in her own virtuoso playing, offering, for example, in "L'Inverno" (Winter), a truly impassioned, yet icy, performance. Unlike the Penguin Guide, I was equally impressed with Mutter's playing and the Trondheim Soloists's interpretation of Tartinai's "Devil's Trill" Sonata in G minor. Without question, this fine recording remains among Mutter's best, and one which I look forward to hearing frequently for years to come.

The title says it all. This is the cd to compare to all other performances of this work. Very similar to Karajan's interpretation. So if you like his then you'll love this.
Mutter is at her best and pulls off the visual images in her playing better than any other I've heard. You can feel the summer storm and the chill of the winter concerto. the Trondheim Soloist keep pace and drive the performance in a grand way.
One of my favorites.

I'm just a classical music neophyte so I can't speak to how this compares to other musicians renditions of Mozart's Violin Sonatas, but I liked this very much.

OK, so I bought this set because of the sexy cover photo. So shoot me. Listening to it I was struck by how difficult it seems to get a smooth, life-like recording of the violin on standard "Red Book" CDs.

Her playing is technically perfect, of course, but the styling is sometimes overdone to my taste. since listening to this set, I bought a classic vinyl set by Gruemaix (sp) in mono no less. I much prefer that.

Great cover photo!

As being played through Windows Media there is no visualization of album cover nor its programme on screen. The rest of this Deutshe Grammophon product is first class sound quality.

Anne-Sophie Mutter's cd is one of the best I have experenced in a long time. It was well worth the money. I highly reccomend this CD to classical listeners around the world.

If you want violin, mozart, top notch world class interpretation, you want this ablum.

That's it.

The same day I received this CD of Brahm's violin concerto with Anne-Sophie I heard, after listening to her version, a performance of another violinist playing live with the Boston Symphony Orchestra. I was shocked how ordinary his performance sounded even though the audience gave him a strong ovation at the finish.

Her renditions of widely known works are in a class by themselves. She has so much expressiveness used wisely and effortlessly you forget the limitations of the instrument and technique. She doesn't seem to have any. Since David Oistrakh, the Soviet violinist whose recordings end by 1960 or so, she is the finest I have heard.

Some say her earliest (and she was a child prodigy) performances are the most exciting. I've heard her play Sibelius' concerto and I don't notice anything but a continuation of her genius on the instrument. If you are like me, you will want to get every performance she has recorded.

If you haven't heard these recordings, you have a nice surprise ahead of you. The Mendelssohn dates from 1981 and the Brahms from 1982. Because of the recording dates, you've got the young protege, Anne-Sophie Mutter, firmly under the leadership of the old master, Herbert von Karajan, with that marvelous orchestra to draw on for generous support.

Ms. Mutter has never been closer since then to the gentler ways of performing these pieces as she is here. The accompaniment is very well balanced and perfectly complements the solos.

Being used to a lot of fire from Ms. Mutter, some may complain that these performances aren't sizzling enough.

I found that her interpretation of Mendelssohn was delightfully restrained which allowed for the heavenly aspects of the piece to emerge. I was equally pleased with her Brahms where her violin seems to literally sing to us in a beautiful human voice. Beneath the surface, you can feel the controlled power of Mutter, von Karajan, and the Berlin Philharmonic. It's like watching heavyweights delicately dancing ballet to exquisite chamber music. You know there's the power there to blow us away, but that they want to enrapture us instead.

This recording will appeal most to people who like to hear classic pieces of the repertoire performed in ways that aren't the typical fare.

Herbert von Karajan's smooth orchestral sound was much more suited to some composers than others; unfortunately the composers that it was not suited to comprise the majority of the standard Teutonic repertoire. In particular the music of Brahms becomes flat, lifeless and boring under his approach, when in the hands of many other conductors it is inuered with a profound lyricism unsurpassed by any other composer. I don't think there was any other composer who Karajan was so awful at conducting, and so any of his Brahms recordings should be avoided. If you want recordings by Karajan go for late romantic and modern music where the greater orchestral complexity and amount of dissonance counteract the smooth superficiality evident in his classical and early romantic performances, and presents the music with clarity of texture.

Ms. Mutter is one of the best violinists in the world, with both a remarkable attention to detail as well as perceptive musical insight, and plays extremely well here in spite of Karajan's interpretation of the score. I haven't heard her recording of the Brahms Concerto with Kurt Masur but that would probably be were to look for a performance of this concerto by her.

The Mendelssohn Concerto also suffers from the same lacklustre conducting from Karajan, although he is not quite as bad with this concerto as with the Brahms.

Even though I consider Karajan the greatest maestro of his generation, as an accompanist he tended to exhibit faults I don't find when he's on his own. In both these concertos there's a concern for overall smoothness, mellow tone, and precise balance. Karajan's lovely young protegee, Mutter, matches his approach perfectly. She spins one of the most consistent tones of any violinist and shows no desire to crowd the spotlight. The result wins admiration for being harmonious, but where's the individuality and drama?

In the Mendelssohn concerto we get dreamy melodic lines but no real delight and magic--it's all rather charmless, without joy. Mutter is careful not to show off with brilliant pyrotechnics, which is too bad--if you're going to dazzle, this is one work that will take off into ethereal heights. The Brahms finds Karajan developing a broad sound picture that's simply too bland. The rugged, struggling temperament of this composer has been carefuly suppressed, and at no times does Mutter seem to throw caution to the wind. Having said that, I much prefer this reading to the celebrated EMI recording with Perlman and Giulini--it's even more faceless and correct.

Of course, tastes differ, and I must confess that Mutter never went on to make any recordings I really love, so perhaps I should be discounted as a non-fan. If you value precise technique and clean tone without much 'intervention" on the soloist's part, here you are. I will stick with Menuhin/Furtwangler, Heifetz/Reiner, and Mullova/Abbado, among quite a few that shine with more vibrancy than this CD.

I know that both anne-sophie mutter and hilary hahn are both exceptional musicians, but i personally think that hilary hahn has the better mendelssohn recording. the first movement just has more energy... as well as more motion and dynamics that make it so beautiful to listen to.

Her album covers suggest high, jazz-diva glamour - you'd almost want to use an old fashioned word like 'swanky' to describe the Gershwin-era sensibility at work. Her voice has it, too, curling out like a memory of smoke-and-martini-fuelled cocktail parties, though sometimes transforming itself into a claim on all that is blithe and innocent." ~ Toronto Life Magazine, December 2007 ~

"Sophie Milman sings sublimely and she does sultry with impeccable, classy style. ~ Q Magazine ~

This is my very first Sophie Milman CD and most definitely will not be the last! I'm truly impressed with her outstanding vocal flair and style. She has an extensive vocal range and her phrasing is crisp and crystal-clear. She's now among my newest favorite jazz singers whom I call in my jazz vocabulary the second generation jazz divas, next to the original divas - Ella, Sarah, et al.

Released in 2004, this self-titled debut album of Sophie Milman is utterly charming and stunningly beautiful with an impeccable choice of material that represents some of the greatest composers and lyricists of all-time, from George and Ira Gershwin, Jimmy McHugh and Dorothy Fields to Leonard Berstein, Stephen Sondheim and Antonio Carlos Jobim.

All the tracks are sure winners! Her heartfelt take on my all-time favorite "La Vie En Rose" alone is enough reason to own this elegant CD. Listen closely with your undivided attention as she sings this lovely song in its original setting in French with its enthralling instrumentations especially the striking bridge solo. To make it short, it is simply splendid!

"Quand il me prend dans ses bras
Il me parle tout bas
Je vois la vie en rose
Il me dit des mots d'amour
Des mots de tous les jours
Et ca m'fait quelque chose."

She does more than justice to Jobim's "Agua de Beber" with a jazz fusion arrangement but still remains true to its Bossa Nova rhythm. While she's jazzing it up with "I Can't Give You Anything But Love," she slows it down with two meaningful songs, "Guilty" and a classic from George and Ira Gershwin, "The Man I Love" featuring an ear-candy harmonica solo by Guido Basso. Then she does a sparkling rendition of "My Heart Belongs To Daddy," one of my favorites tracks.

The exceptional talents of the musicians involved in this recording cannot be left unnoticed -- Bill King and John Sheard (piano), Alan Hetherington (percussion), Marc Rogers and Artie Roth (bass), Davide DiRenzo (drums), Pat La Barbera (alto sax), Phil Dywer (tenor sax) and Guido Basso (harmonica), among others. I would say that Ms. Milman is a "musician's singer" for she displays a very good rapport with her back-up team, who all show a great interplay amongst themselves.

Listening to this CD is equivalent to having my favorite dessert -- every song is a sweet delight! So adorn your jazz collection with this elegant and irresistible CD. I will certainly recommend her sophomore CD, Make Someone Happy, which after its initial release hits the # 4 spot in the Billboard Jazz charts.

Have a lovely listening experience!

Sophie Milman's voice draws you in with its smooth tone, and demonstates great character throughout every song. Jazz vocalists in general often fall into two categories: great character at the expense of sounding hard, or incredibly smooth at the expense of being bland. Sophie Milman blends the best of these two elements with incredible finesse. I can't wait to see more from this incredible artist

Average Singer with below average arrangements on often sung standards.
I was expecting at least some re-harmonization on these tunes but very much
straight from the fakebook kind changes. The horn lines were not too exciting.
Well....overall, very clean and straight.

I just received the new "linus" Sophie Milman CD and have been playing it over and over again.

The visualization of a fantastic playful jazz angel on the other side of such a beautiful voice is not hurt by the reality that she is one. Her harmonic rythmic voice makes the heart happy just to listen to it and entertains the mind with frequent smooth variations that make other overcomplicated musicians just seem dull and nervous. She also has a great bunch of excellent jazz musicians that accompany her and they echo the mood perfectly. Great job Sophie Milman and "LINUS"!

An ultra hip, swinging song stylist; and this time I'm not talking about Mark Murphy. Sophie Milman is a revelation, by way of Russia, Israel, and Canada. She sings the hell out of a song here. Want proof? Check out "My Baby Just Cares For Me." "I Feel Pretty," and "My Heart Belongs to Daddy." For a great change of pace, there's "La Vie en Rose" in French and "Dark Eyes" in Russian. Want more? The band includes some exceptional talent, and is a perfect fit for Milman. This is a great cd by a beautiful, brilliant young singer.

The virtuoso as cute tyke has always been a winning attraction, and here Mutter is at her youngest and most sparkling. The abuandant mannerisms are still years off, and her playing comes across as brilliant but natural and unforced. There are no gerat insights, but we don't expect them from one so young. Mutter's secret weapon on this CD is Karajan, who gives her accompaniments that are vibrant and full of brio. In fact, it's ironic that this recording might be the best Mozart Karajan ever recorded. The Berlin Phil. actually plays with charm; this is Mozart in a smiling mood. Neither Concerto #3 nor #5 is a masterpiece by any stretch, and I would hesitate to buy a ticket to hear them in concert, but they make a lovely vehicle for Mutter on disc. By the way, DG's sound is still a bit shrill and metallic as far as the violin is concerned, even in this remastering.

I listened to other's Mozart Violin Concerto recording but none really comes close like this. Unlike other's uncertain interpretation of Mozart, her interpretation and intonation are confident, solid and perfect. I don't think no one else can play Mozart like Mutter does.

It's a gimme at this level the technique is there, as we find on this CD, regardless of the age of the solist. However, von Karajan's interpretation seems hastily prepared, with a legato strategy that smothers the subtle contrasts in articulation, tempo and dynamics that is a central part of Mozart's essence. Szell's versions are a real cut above this.

This is Anne-Sophie's first recording of Mozart, and her first recording ever I think. Here she plays the concertos with a modern listener's approach, more romantically. Mutter is true to Mozart though, and does not take away anything and definitely adds purity, and absolute sweetness of tone to these works. This recording of Mozart is more original and "pure" than her most recent one that has just come out.

I'd say it's a must buy for Mozart and Anne-Sophie lovers alike.

Perhaps Mutter's youth saved her from over-coloring these favorite Mozart concertos. Karajan's BPO, as usual, plays with just the right balance. The performance is in all ways wonderful and sparkles. Good recording quality too, considering its D-G.