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Symfonische muziek - Verschenen op 8 mei 2012 | Naxos

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Uitzonderlijke Geluidsopnamen - Hi-Res Audio - La Clef du mois RESMUSICA
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Klassiek - Verschenen op 1 maart 2011 | Naxos

Hi-Res Booklet Onderscheidingen Diapason d'or - La Clef RESMUSICA
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Klassiek - Verschenen op 6 januari 2012 | Warner Classics

Booklet Onderscheidingen 4 étoiles Classica - Uitzonderlijke Geluidsopnamen
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Symfonieën - Verschenen op 2 oktober 2015 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 15 april 2019 | Lawo Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 22 mei 2020 | Lawo Classics

Hi-Res Booklet
The cultural and artistic exchanges between France and Russia have long been exciting, despite this great back-and-forth movement being stopped dead in its tracks by the Soviet Union. Ballets born in the court of Louis XIV would make their way to St. Petersburg and return to France with the great scores of Tchaikovsky and his successors, restoring strength and vigor to the dance. As for music, it was Berlioz who excited the young Russian composers when he came to the capital and Moscow and the way he approached orchestration would inspire Glinka, Rimsky-Korsakov and the whole Group of Five, as well as the young Stravinsky, who in turn inspired the young French school, with Debussy, Roussel and Ravel at the head. Strongly influenced by French timbres, Rimsky-Korsakov often chose exotic themes for his great works such as Scheherazade, Antar and Spanish Capriccio, where he progressively colours an already-rich orchestral palette. Conductor Vasily Petrenko, at the head of the Oslo Philharmonic Orchestra, of which he was the chief conductor from 2013 to 2020, favours here a great "legato" that runs through the three works, presented in a great romantic and lyrical gesture. A magnificent sound recording. © François Hudry/Qobuz
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Klassiek - Verschenen op 13 november 2020 | Lawo Classics

Hi-Res Booklet
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Klassiek - Verschenen op 17 januari 2020 | Lawo Classics

Hi-Res Booklet
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Klassiek - Verschenen op 24 april 2020 | PM Classics Ltd.

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Conductor Vasily Petrenko has proven to have a really distinctive way with Elgar's music at the helm of his Royal Liverpool Philharmonic, and even those not on board with his free tempos and perhaps a somewhat overheated approach to Elgar have to concede, at the very least, that it's never dull. Those interested in sampling this Elgar series might try the Petrenko-Liverpool recording of the Symphony No. 2 in E flat major, Op. 63, instead, but there's plenty to recommend this pair of vocal works. The orchestral song cycle Sea Pictures, Op. 37, is worth hearing just for the vocal contributions of Kathryn Rudge, whose instrument lies right on the line between contralto and mezzo-soprano. She can stand with the various greats who have recorded this work, including Sarah Connolly (in the same pairing as is heard here), Janet Baker, and Clara Butt. However, the real attraction is The Music Makers, Op. 69, a kind of choral cantata that seems to have reflected Elgar's inner musical dictates in a way: he wrote it with no particular commission or performance occasion in mind. It is a setting of a poem by Arthur O'Shaughnessy about musical artists ("We are the music makers / And we are the dreamers of dreams"). Elgar quotes his own music and veers from dreamy to splashy. The work is not often performed, but Petrenko finds the key: to embrace the rather unbalanced quality of the music and its powerhouse, emotionally triumphant finale, which is right in this conductor's wheelhouse. For digital purchasers in need of a state-of-the-art Pomp and Circumstance March No. 1, Petrenko winds down the program with one. This album will fill a hole on many Elgar shelves or hard drives. © TiVo
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Klassiek - Verschenen op 13 september 2019 | Lawo Classics

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Klassiek - Verschenen op 21 mei 2021 | Lawo Classics

Hi-Res Booklet
Second and finale volume of recordings by Oslo Philharmonic Orchestra and Vasily Petrenko of Prokofiev's and Myaskovsky's symphonic works. Both Prokofiev and Myaskovsky, who were close friends, suffered under the oppressive Soviet regime, and, in the course of their careers, had to compose with threats of artistic censorship hanging over them. Prokofiev composed Symphony No. 6 in E-flat minor, Op. 111, between 1945 and February 1947, though some sketches date from 1944 before he completed the Symphony No. 5. It is written for large orchestra and is a profound and personal work with an unmistakable tragic element. He said himself that this symphony was inspired in part by the war years: "Now we are rejoicing in our great victory, but each of us has wounds that cannot be healed". Myaskovsky completed the last of his symphonies - in C minor, Op. 85 - in November 1949. His 27 works in this genre are so strikingly varied in character that is is virtually impossible to define a "typical" Myaskovsky symphony. No. 27 is often referred to as one of his most popular, even though his music was hardly performed outside of Russia. Prokofiev described the music of his good friend in this way: "Myaskovsky was something of a philosopher; his music is intelligent, passionate, sombre and self-absorbed". © LAWO Records
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Balletten - Verschenen op 30 november 2018 | Onyx Classics

Hi-Res Booklet
It was an excellent idea to bring together the Suite from Rimski-Korsakov's Golden Cockeral with the complete ballet The Firebird by Stravinsky on one single album. We specify "complete ballet" because he often records one of the three suites that were later established for the concert hall rather than for the ballet. The idea is brilliant in that it highlights the heavy influence of Rimsky-Korsakov on the young Stravinsky, whose Firebird logically pursues the magical orchestral sounds developed by Rimsky-Korsakov. Not to mention that The Golden Cockeral> precedes The Firebird only by one year, 1909 for the first, 1910 for the latter. And suddenly, the old master appears in all his mind-blowing modernity! The Royal Liverpool Philharmonic is here under the precise and sharp direction of Vasily Petrenko, who underlines all the subtleties of both scores. © SM/Qobuz
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Klassiek - Verschenen op 24 augustus 2016 | Lawo Classics

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Klassiek - Verschenen op 20 oktober 2017 | Onyx Classics

Hi-Res Booklet
Igor Stravinsky's Le Sacre du printemps usually dominates any program, so the inclusion of shorter works with it may seem like a gamble. However, Claude Debussy's Printemps and Sergey Rachmaninov's Vesna, Op. 20 serve to complement Stravinsky's masterpiece, while also lending their own excitement and power to this 2017 Onyx release. Vasily Petrenko leads the Royal Liverpool Philharmonic Orchestra and Chorus in this vernal-themed album, and the performances are spirited and attractive. The lovely dreamlike atmosphere that Debussy evokes in his two-movement orchestral piece comes closest to conventional notions of the awakening of the season, and its magical effects are immediately charming and seductive. Rachmaninov's choral cantata depicts a Russian peasant, represented here by baritone Rodion Pogassov, suffering in the depths of a harsh winter and contemplating murder, only to be calmed by the appearance of spring in all its lushness and beauty. Of course, Le Sacre du printemps is still the main feature of this disc, and Petrenko and the orchestra put all their skill and energy into this energetic and riveting performance. While some of Debussy's impressionistic influence is noticeable in this work, which he called a "beautiful nightmare," its violence was intended to depict the sudden eruption of spring, which Stravinsky described as "the violent Russian spring that seemed to begin in an hour and was like the whole Earth cracking." This is certainly the effect that Petrenko strives for, and the Royal Liverpool Philharmonic plays with a brutality in the Danse sacrale that is as shattering as Stravinsky could have wished. The stereo sound of the CD is clear and vibrant, though levels are a bit low, so some adjustment of the volume is necessary to hear the softest details. © TiVo
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Symfonische muziek - Verschenen op 24 maart 2017 | Onyx Classics

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The transplanted Russians playing such a big role in Britain's orchestral scene are not having to plow new ground when they turn to Elgar, who, even in Soviet days, was popular in Russia. There's a certain affinity in his work with those of the Russian symphonists, especially in the turbulent Symphony No. 2 in E flat major, Op. 63. Jump in and sample the incongruously named "Rondo: Presto," a demonic scherzo that Elgar described as having "the madness that attends the excess or abuse of passion." Petrenko whips the Royal Liverpool Philharmonic Orchestra into a fine frenzy, and the whipsawing moods of the opening movement are just as good. Is it Russian-style Elgar? Not really: purely English performances have had the bite Petrenko brings. But it's a worthy entry onto the crowded shelf of recordings of this symphony, with three exquisitely crafted miniatures to bring down the curtain. One negative is the sound environment of the Liverpool Philharmonic Hall, whose big spaces pick up every little flaw in the orchestra's string ensemble, but for Elgar fans this is a significant event. © TiVo
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Klassiek - Verschenen op 23 oktober 2015 | Lawo Classics

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Klassiek - Verschenen op 1 oktober 2012 | Warner Classics

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Klassiek - Verschenen op 24 februari 2015 | Onyx Classics

The first volume in a series on Onyx devoted to the orchestral works of Edward Elgar, this 2015 release presents the Cockaigne Overture and the Symphony No. 1 in A flat major, in exciting performances by Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. The jaunty Cockaigne is a rousing opener, played with great energy and a sense of fun, assuring that not all of Elgar's music is dignified and noble but often sparkles with humor. The Symphony No. 1, on the other hand, is one of Elgar's most profound statements, and it is one of the great symphonies of the 20th century. Petrenko gives the work a powerful reading, putting emphasis on its dynamic counterpoint and the transparent orchestration, for which this symphony has often been praised. The orchestra delivers the music with fine polish and moving expressions, especially in the Adagio, which is the emotional core of the symphony. Perhaps the only criticism worth making is that the reproduction would have benefitted from super audio technology, because the stereo recording seems too limited for this exceptional performance, which calls instead for a wider audio range and greater depth. © TiVo
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Klassiek - Verschenen op 7 mei 2021 | Lawo Classics

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Klassiek - Verschenen op 14 mei 2020 | Lawo Classics

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