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Klassiek - Verschenen op 1 januari 2006 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 januari 2008 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 6 oktober 2009 | Deutsche Grammophon (DG)

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It's still too early in Gustavo Dudamel's career to put out a greatest-hits collection, yet he has released enough high-profile albums on Deutsche Grammophon to warrant a generous sampler. To give listeners a clear idea of this critically acclaimed conductor's range and versatility, short pieces and movements from larger works have been selected from seven CDs to highlight his repertoire on Discoveries. From Beethoven to Bernstein, with touchstones along the way by Tchaikovsky, Bruckner, Mahler, Stravinsky, Revueltas, and others, this compilation demonstrates Dudamel's broad musical tastes and boundless enthusiasm for showstopping orchestral works. Conducting the Simón Bolívar Symphony Orchestra of Venezuela, the Gothenburg Symphony Orchestra, the Berlin Philharmonic, and the Vienna Philharmonic, he shows his exceptional aptitude for symphonic music, ballets, and tone poems, and delivers the music with fiery energy and drama. © TiVo
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Klassiek - Verschenen op 6 oktober 2009 | Deutsche Grammophon (DG)

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It's still too early in Gustavo Dudamel's career to put out a greatest-hits collection, yet he has released enough high-profile albums on Deutsche Grammophon to warrant a generous sampler. To give listeners a clear idea of this critically acclaimed conductor's range and versatility, short pieces and movements from larger works have been selected from seven CDs to highlight his repertoire on Discoveries. From Beethoven to Bernstein, with touchstones along the way by Tchaikovsky, Bruckner, Mahler, Stravinsky, Revueltas, and others, this compilation demonstrates Dudamel's broad musical tastes and boundless enthusiasm for showstopping orchestral works. Conducting the Simón Bolívar Symphony Orchestra of Venezuela, the Gothenburg Symphony Orchestra, the Berlin Philharmonic, and the Vienna Philharmonic, he shows his exceptional aptitude for symphonic music, ballets, and tone poems, and delivers the music with fiery energy and drama. © TiVo
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Klassiek - Verschenen op 23 september 2013 | Deutsche Grammophon (DG)

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It is surely a natural combination of talents to have Gustavo Dudamel interpret the tone poems of Richard Strauss with the Berlin Philharmonic, but it is still a major coup, no matter how obvious the idea seems on its face. The live recordings of Also sprach Zarathustra, Till Eulenspiegels lustige Streiche, and Don Juan on this 2013 release from Deutsche Grammophon are a true feast for the ears, and the marvelous sonorities and myriad details in Strauss' dense but transparent scores are all on display here. Dudamel is one of the finest shapers of an orchestra's sound, and his expert handling of nuanced timbres and subtle dynamics is everywhere apparent in Also sprach Zarathustra. However, if Till Eulenspiegel or Don Juan are overly familiar to jaded listeners, Dudamel makes them seem just as clear and fresh as Also sprach Zarathustra, and the orchestral colors pop with astonishing vividness and stand out with distinctive presence. While some may discount high praise for this album as hype, hearing it will convince even the most jaundiced skeptic, especially after feeling this CD's irresistable pull and listening to it in one rapt sitting. Dudamel has shown abundant promise in all of his recordings to date, but this Strauss album puts him among the great conductors of our time, without the slightest doubt. © TiVo
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Symfonische muziek - Verschenen op 1 januari 2014 | Gustavo Dudamel

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Symfonische muziek - Verschenen op 1 januari 2014 | Gustavo Dudamel

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Symfonieën - Verschenen op 2 oktober 2015 | Gustavo Dudamel

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Klassiek - Verschenen op 15 april 2015 | Gustavo Dudamel

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Symfonische muziek - Verschenen op 2 december 2016 | Deutsche Grammophon (DG)

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Symfonische muziek - Verschenen op 16 december 2016 | Gustavo Dudamel

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Symfonische muziek - Verschenen op 9 januari 2017 | Sony Classical

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This 2017 concert, on the market by the end of the second week in January, marked the first Vienna Philharmonic New Year's Concert led by the sensational Venezuelan-American conductor Gustavo Dudamel. Those hoping, or fearing, that he would shake up the repertory of this Vienna institution, are given little material to work with; the program follows the time-honored pattern, with the Strauss family in the foremost position and The Beautiful Blue Danube in its proper place in the encores. This said, Dudamel's New Year's Concert is fresh and energetic, and really a great deal of fun. The Viennese audience rewards him with warm applause and as much enthusiasm as Viennese can muster. He introduces quite a few pieces that are new to the concert, closing out the first half with the utterly charming Pepita-Polka, Op. 138, an unjustly neglected masterpiece of Johann Strauss II. There are no fewer than four Johann II premieres, and among the other newcomers is the familiar Skaters' Waltz (Les Patineurs) of Emile Waldteufel. In the main Strauss pieces, Dudamel applies his high-energy but precise sound to this highly familiar material, and lo and behold it works: there are foot-tappers galore, but the characteristic Strauss humor is not lost. Sample the Rotunde-Quadrille, Op. 360, of Johann II for an idea, and note that the sound quality on the New Year's Concert release gets just a little better each year. The New Year's Concert, far from being a moribund tradition, is a growing phenomenon, broadcast as far afield as Indonesia and Mozambique. With satisfying performances like these, that trend seems likely to continue. © TiVo
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Symfonische muziek - Verschenen op 13 februari 2017 | Gustavo Dudamel

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Klassiek - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

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This new version of Tchaikovsky's famous ballet has been released hot on the heels of Disney's Nutcracker and the Four Realms, whose original music by James Newton Howard reprises and updates some of the themes from the Russian's score. Recorded by Gustavo Dudamel with Lang Lang at the piano and Andrea Bocelli singing the titles, this film's soundtrack is made to measure for these three global stars.This recording of the original material was carried out at the Walt Disney Concert Hall in Los Angeles in December 2013 during a Christmas celebration. The concert marked ten years of fruitful collaboration between Gustavo Dudamel and the Los Angeles Philharmonic Orchestra. The Venezuelan maestro brings us a hedonistic vision of this German fairytale by ETA Hoffman, re-imagined by Alexandre Dumas and so wonderfully turned in to music by Tchaikovsky. It was one of the Russian's last masterpieces, coming just before the "Pathétique" Symphony which would be his musical testament. But here, all is hardly fairytale and sugar thanks to an extraordinary melodic inspiration which is brought out by a light orchestration with unique timbres, like in the Dance of the Sugar Plum Fairy which popularised the Celesta, an odd instrument invented in 1886 (an improbable lovechild of the glockenspiel and the piano that Tchaikovsky encountered in Paris).Dudamel is playing with dreams here. We are treated to a supple, refined conducting style that looks towards Vienna more than it does to St Petersburg, but it never loses sight of a childlike spirit that's sure to delight. © François Hudry/Qobuz
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Klassiek - Verschenen op 15 maart 2019 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 5 juli 2019 | Sony Classical

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Klassiek - Verschenen op 19 juli 2019 | Sony Classical

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Klassiek - Verschenen op 28 augustus 2020 | Deutsche Grammophon (DG)

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It is still fascinating to hear the progression of Charles Ives in the symphonic genre. 1898’s Première is relatively classical in style and anchored in European tradition, following in the footsteps of Schumann or Brahms moving through Dvořák and Tchaikovski. Despite this, the work remains extraordinary through its structural mastery. Quatrième (1910-1916 and first performed in 1965) is out of this world like no other work in the history of the genre, it is a dive into an avant-garde realm which has decided to follow an unknown and treacherous path. A landmark work in American music. Gustavo Dudamel is of the most poignant lyricism in this first work, a quality which he maintains through to the Quatrième. Here, we encounter less of the chaotic, collage aesthetic that can be heard on other interpretations as pioneered by Christoph von Dohnanyi (Decca) who sought out modernity in all nooks and crannies of Ives’ work. Nevertheless, Dudamel’s natural hand carries its own moments of madness - the end of Allegretto with its completely insane superpositions of military and folk sounds! A true event, this collection is a decisive contribution from the Deutsche Grammophone catalogue, who, since the famous but selective records of Seiji Ozawa and Michael Tilson Thomas (Boston, at the beginning of the 1970s), Leonard Bernstein (New York, 1980s) and the Orpheus Chamber Orchestra (New York, 1990s) has not distinguished itself in this orchestral repertoire. Dudamel’s work has thus completed the recent recordings by Tilson Thomas on the San Francisco Symphony label. © Pierre-Yves Lascar/Qobuz