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Flautist Alexis Kossenko is supported by harpist Valeria Kafelnikov and the ensemble Gli Angeli Genève conducted by Stephan MacLeod stars on this collection of Mozart Concertos! "Playing Mozart’s concertos poses the same problem for a flutist as Bach’s sonatas and partitas do for a violinist or his suites for a cellist. This problem is encountered with masterpieces that entered our repertoire too early; when we are confronted with the admirable before the ordinary or when we are taught the exception before the rule. How can we find the distance that will allow us to offer a personal reading? How can we take an objective look at what is already familiar? How can we judge and appreciate as an adult what we have been fed since our earliest childhood? How can we question the precepts taught us in our early years of study? How, finally, to escape from the prison of tradition? I have never been driven by the desire to do something different at all costs, but by the desire to understand what the work has to tell us. And it is not so easy to reach a stage of lucidity with the “pillars of the repertoire”. Sometimes you have to turn your back on them for a while to rediscover them with fresh eyes, with a virgin heart, to see and feel them as they are and not as we have been taught to consider them. For a long time, I loved Mozart and considered him a genius, simply because I had been taught to love him and consider him as such! Then one day, something clicked; a sudden awareness, lived and felt, of the uniqueness of his genius; a love that has only grown, and above all a sudden discovery of the dramatic potential of his music, not in any way limited to his operas. Each of his works is in fact an opera in miniature, a theater of the soul, and his flute concertos are no exception. This is the angle from which we have approached them, with their share of intrigues, feelings, comic moments, and coups de théâtre! And, much more than the performance of a soloist with orchestral accompaniment, we wanted to bring to light a compelling dialogue, between an operatic character who would be the soloist and an orchestra that is both a setting and an actor, sometimes playing a single character, sometimes a crowd. [...} - Alexis Kossenko