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Initially, the opening few bars of this recording came as something as a disappointment. The tempo of the first movement of the G major concerto was a little on the fast side for my taste, and the articulation, from both the orchestra and soloist was a little too indistinct for the maestoso direction. However, I soon settled into the interpretational decisions and realized that this is a completely fresh take on frequently performed repertoire, and Bezaly is very much making the music her own.
 
There are numerous recordings of the Mozart flute concertos available, which range from period performances to brash soloistic displays. This one comes out somewhere near the top of the pile. The musical choices are a delicate balance between the historically informed and Bezaly’s personality, and as such, this is more than just another Mozart recording.
 
Bezaly’s sound is captivating, and her delicate phrasing in the second movement of the G major concerto is one of the high points of the recording. The final movement is a fast and spirited performance which is light and full of sparkle.
 
The Andante in C, often played by young flute students, is treated with the same respect as the other concertos and performed in a considered way, making it among the best performances of this work I have heard. The other single movement work on this disc, the Rondo in D is played with much charm and well judged Mozartean poise.
 
Julie Palloc proves an excellent duo partner in the flute and harp concerto. With a performer of Bezaly’s stature one can imagine a possible overshadowing of fellow performers, but this is not the case here. Palloc’s playing is musical and highly accomplished. The slow movement of this concerto is one of my favourite pieces in the flute repertoire, and this is a wonderful performance.
 
The orchestra plays with homogenous sound and excellent accompanying skills throughout this disc, and provides a particularly enjoyable opening to the D major concerto. This is a light and controlled performance, with an uncomplicated slow movement which shows the beauty in Mozart’s writing. Bezaly once again brings her personality to the performance, which is convincing throughout.
 
Kalevi Aho’s cadenzas are written with the modern flute player in mind – they use a greater range than the flute was capable of in Mozart’s day, and have a fresh, contemporary feel. Purists may not enjoy the departure from classical tradition, but they complement the works well and give Bezaly an opportunity to shine.
 
Carla Rees
 

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