- Orchestre de Chambre de Lausanne, Heinz Holliger: “Schönberg: Kammersymphonie Op. 9, Sechs Kleine Stücke, Op. 19; Webern: Symphonie, Op. 21, Fünf Sätze, Op. 5” (Fuga Libera)
- Zehava Gal, Laurence Dale, Veronique Dietschy, Carl Johan Falkman, et. al. “La tragédie de Carmen”
- Bertrand Chamayou: “Messiaen: Vingt Regards sur l’enfant Jésus” (Erato)
“I can take any empty space and call it a bare stage,” wrote iconoclastic theater and opera director Peter Brook in his seminal 1968 manifesto, The Empty Space. Brook, who died on July 2, wasn’t just talking about physical space. He was also referring to the space between words and silence, between stillness and action, between audience and performer. Each space was, for Brook, a Large Hadron Collider that could be used to explore the unresolvable questions. As the writer Justin Sherin eulogized over the weekend, “In a business that loves nothing more than a good ‘mission statement’ and conflates that which thinks it can save the world for art, Peter Brook’s work grew entirely from belief in the mysteries of humanity and doubt about how to render them.”