A Sophisticated Balance of the Unusual and the Popular

The Grammys are often predictable and besotted with either mass-market names or those that confer instant class. And it might appear that this year is more of the same, what with Grammy favorites Georg Solti, Robert Shaw, Pierre Boulez and the Kronos Quartet once again nominated for best classical album. And yet, every one is attached to a serious and admirable recording. Bartok’s somber and seldom-heard “Cantata Profana” shows up not once but twice, along with the Hungarian modernist’s great but disturbing opera, “Bluebeard’s Castle,” and the late Russian composer Alfred Schnittke’s startling string quartets. The only popular repertory is a selection of arias, but those are radiantly sung by Renee Fleming.

Indeed, the Grammys have managed, throughout the classical list, a similarly sophisticated balance of the unusual and the popular. The closest thing to a standard work nominated for best opera is the Boulez-led “Bluebeard” and, with Jessye Norman, it has the only star in any of the casts. But Astor Piazzolla’s astonishing tango opera “Maria de Buenos Aires,” Rameau’s Baroque-period feast of color, “Les Fe^tes d’Hebe,” and the two attractive nominees from the Kirov--Prokofiev’s “Betrothal in a Monastery” and Tchaikovsky’s “Mazeppa”--are all splendidly performed and enhance the operatic repertory.

Indeed, one finds interesting choices everywhere: Oliver Knussen’s dazzling recording of Henze’s neglected ballet “Undine” and Riccardo Chailly’s traversal of Varese’s complete works among the best orchestral performances; Leif Ove Andsnes’ illuminating survey of Norwegian piano music and guitarist David Starobin’s recording of 18 self-commissioned short new guitar works among the best instrumental soloists; even the challenging piano music of Elliott Carter included in the best classical contemporary composition nominees.

Angelenos are not strongly favored this year, but stunning works by USC composer Morten Lauridsen have given the Los Angeles Master Chorale a shot at winning best choral performance; the Los Angeles Philharmonic’s recording of Mahler’s Third Symphony is entered for an engineering award; and the locally based Robina G. Young, of Harmonia Mundi, has been nominated for classical producer of the year, as has Steven Epstein for the Pacific Symphony’s recent Takemitsu disc.