As James Jolly writes in the opening of his wonderful portrait of the French singer Cyrille Dubois this month, the sheer diversity of what the term ‘tenor’ can mean is no more eloquently demonstrated than in the contrast between him and this month’s cover artist, Jonas Kaufmann. One term, but a complete contrast of voice style and approach to repertoire.

But in truth, it’s diversity within styles, let alone between styles, that makes the world of classical music as rich as it is. It’s that variety that makes comparing, say, different recordings of Bach’s cello suites between contrasting cellists so rewardingly fascinating, or Beethoven’s sonatas between pianists, or for that matter Janáček’s operas between conductors, to cite this issue’s Recording of the Month, Katya Kabanova from Sir Simon Rattle. In his review, Tim Ashley namechecks by way of comparison – not, it’s crucial to note, by way of competition – other fine versions, that of Charles Mackerras from the late ’70s, and a more recent recording by Jakub Hrůša, from 2022. That we can discuss and recommend them all, and yet still welcome a new addition to the catalogue as being worthy of the accolade we’ve given it, is testimony to what can be achieved when musicians who deeply understand a work give themselves to it wholeheartedly, and share their own insights.

Sometimes interpretative approaches can be both radical but still entirely in keeping with the aims of an original piece. In a podcast this month I interviewed pianist Lara Downes, who has just issued a recording of Rhapsody in Blue, arranged by Edmar Colón to mark the iconic work’s centenary. Taking Gershwin’s spirit of exploring the kaleidoscopic sounds of the American society of his era, Downes and her colleagues have reimagined the piece to do likewise today. This fascinating work is available digitally from Pentatone this month, itself reflecting an increasing trend for labels and artists to be offering EPs online, either exclusively or ahead of a full album launch later on, something we’ll be reflecting in future issues. (And meanwhile, do check out our weekly podcasts if you don’t already subscribe to them – which is free to do!)

Our third major interview this month celebrates a conductor whose many recordings have led us towards works we might not otherwise have heard, certainly not in such consistently impressive performances. JoAnn Falletta is a model of what an engaged and engaging advocate for music should be – that we learn her adopted musical home of 25 years, Buffallo, refers to her by her first name tells you all you need to know.

And very sadly I must also make mention of one other conductor, Seiji Ozawa, who died as this issue was going to press. As someone who studied under both Herbert von Karajan and Leonard Bernstein he marks a further passing into history of another link to that extraordinary era of music-making. His almost three decades with the Boston Symphony Orchestra also reminds us of the value of long-term partnerships between a maestro and musicians. Richard Osborne will be paying full tribute next month, capturing the essence of Ozawa’s art, and directing us towards how to best experience it on record.