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Classical - Released April 7, 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Symphonies - Released October 27, 2017 | Sony Classical

Hi-Res Booklet Distinctions Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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Symphonies - Released May 10, 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Symphonic Music - Released November 20, 2020 | Alpha

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Paavo Järvi, Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, here launches a complete recording of Tchaikovsky’s symphonies, the first in both his rich discography and that of the Swiss orchestra: ‘When I think of the Fifth Symphony, I think of vulnerability and hope. It looks directly into our soul. It is perhaps the finest of his symphonies. The famous horn solo moves me and enriches me every time I hear it . . . Unlike the Sixth, the Fifth still holds out hope for life’. The symphonic poem Francesca da Rimini, Op. 32 completes this programme. This dark and violent ‘symphonic fantasy after Dante’, a drama of jealousy, was premiered in 1877, at the same time as Swan Lake. © Alpha Classics
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Classical - Released October 18, 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 de Diapason
Don't be fooled: this youthful face belongs to an 18 year old violinist with a wealth of knowledge and a tried-and-tested technique. For proof, just look at his Bach record, which came out before this Tchaikovsky Concerto, also on Deutsche Grammophon. With every new outing, Daniel Lozakovich surrounds himself with famous formations: for Bach, the Bavarian Radio Chamber Orchestra; for Tchaikovsky, the Russian National Philharmonic under Vladimir Spivakov (himself a great violinist who conducted his first recital in 2010). This gutsy concerto is addressed by a musician with an ample, sparkling sound, capable of an intense virtuosity and a very tender melancholy. Alongside Spivakov, who also recorded this score, he is quite at home. The hands-on sound recording seeks out the fullness of lyricism here, without robbing the strings of their bite. Note that the young soloist learned his scales under Eduard Wulfson in Karlsruhe. This student of giants like Henryk Szeryng, Nathan Milstein and Yehudi Menuhin (no less) taught his young disciple the violin of the Russian school. This young artist's voracious curiosity did the rest. And so, the second part of his programme here offers passages where pure melancholy has been distilled into music, as in Lensky's aria from Eugene Onegin, an opera that the violinist adores and knows by heart. His performance is inspired by previous interpretations by Fritz Wunderlich and Ivan Kozlovsky. And no-one could deny it: Daniel Lozakovich's violin sings! © Elsa Siffert/Qobuz
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Classical - Released April 8, 2016 | Decca Music Group Ltd.

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Chamber Music - Released September 6, 2019 | CPO

Booklet Distinctions 5 de Diapason - Choc de Classica
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Opera - Released September 4, 2015 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released September 1, 2012 | London Philharmonic Orchestra

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Classical - Released November 16, 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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Classical - Released January 1, 1996 | Deutsche Grammophon (DG)

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Classical - Released October 1, 2013 | Chandos

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Ballets - Released November 6, 2012 | Chandos

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Classical - Released November 9, 2009 | Warner Classics

Recorded in 1974, André Previn's critically acclaimed performance of Pyotr Il'yich Tchaikovsky's Sleeping Beauty has remained one of the most admired offerings in EMI's catalog, and the recording has been reissued several times since that date. In making the transition from LPs to CDs, two numbers -- the Pas Berrichon and the Sarabande at the end of Act III -- were cut from the complete recording to allow the ballet to fit on two discs. Apart from this modest alteration, most of Sleeping Beauty is preserved and it is still remarkably fresh sounding, even after digital remastering in 1993, which apparently removed any traces of analog hiss from an already clean recording. The London Symphony Orchestra made several terrific-sounding albums with Previn at this time, and the ensemble's energy, tone, blend, clarity, expression, and technique are all that could be desired of any world-class orchestra. With his career as a jazz pianist and composer, Previn surprised many with his recordings of the Romantic orchestral repertoire, and his great sympathy with Tchaikovsky's music made this performance especially satisfying because he drew particularly vivid and lively playing from his musicians. While this performance may not be superior to some of the Russian competition, it is certainly among the best by any western orchestra, and in terms of elegance and polish, it is still one of the very best ever released. This classic package is highly recommended for anyone who needs a handsome version of what is arguably Tchaikovsky's finest ballet. © TiVo
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Classical - Released January 1, 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica
Tchaikovsky's final opera was the one-act lyric drama Iolanta, which was planned as a companion piece to the Nutcracker. However, the immensely popular ballet eclipsed it, and today the opera is rarely performed or recorded outside Russia. Yet this live concert performance on Deutsche Grammophon will certainly bring the work greater attention worldwide, thanks to the star power of Anna Netrebko, who has performed the role of the blind princess in Salzburg and Baden-Baden, making it a vehicle for her unique talents. She is joined by a strong Russian cast, which includes Sergei Skorokhodov as Count Vaudémont, Alexey Markov as Robert, and Vitalij Kowaljow as King René, and the orchestral support of Emmanuel Villaume and the Slovenian Philharmonic Orchestra lends the performance rich tone colors and fine details. While Netrebko's name recognition is the chief reason most western listeners will notice this recording, her singing provides the best reason to hear it. Netrebko's commitment to making this opera better known -- indeed, making it her own -- is reflected in her passionate performance, which is immediate and thrilling, and she imbues the music with intense emotion that is moving and memorable. The audio is exceptional, even by Deutsche Grammophon's high standards, so the orchestra's sonorities, dominated by woodwinds, are reproduced with vibrant sound. But above all, the audio gives Netrebko presence and warmth, so this is required listening for all of her fans and curious newcomers. © TiVo
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Classical - Released October 18, 2013 | harmonia mundi

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Classical - Released September 6, 2010 | Warner Classics

Booklet
Simon Rattle recorded Pyotr Il'yich Tchaikovsky's festive ballet the Nutcracker in 2009 with the Berlin Philharmonic, and this double-disc package is a first-rate presentation of the beloved holiday favorite. Rattle's approach is warm and inviting, and the music is played with brilliant flair and playful buoyancy. A late-comer to appreciating other works by Tchaikovsky, Rattle claims he always had a special affection for the ballets, and found the Nutcracker especially interesting when he learned of its influence on Igor Stravinsky's Petrushka. This is not to say that Rattle conducts this work in a revisionist or ironic manner, à la Stravinsky, for there is a richness here that is pure Tchaikovsky. Yet a case could be made that Rattle interprets the work with little sentimentality and with an ear for the piquant, and in that manner makes a connection between the two great Russian composers. The Berlin Philharmonic is exceptional in its radiant colors, full textures, and cohesive playing, and the Nutcracker is a delight with such a superb ensemble. EMI's reproduction is also deserving of praise, for the digital sound is as close to state-of-the-art as possible in a regular CD format, and the audio range is wide and deep, with every note easy to hear. © TiVo
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Classical - Released November 13, 2020 | Sony Classical

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Ballets - Released February 23, 2010 | Ondine

Hi-Res Booklet Distinctions Hi-Res Audio
This 2010 recording of Tchaikovsky's eternally popular Swan Lake ballet, with Mikhail Pletnev and the Russian National Orchestra might be ideal for dancing, but it is less ideal purely as a listening experience. On the whole, and in most of its parts, theirs is a highly dramatic and very fast-paced performance, filled with plenty of vigor, energy, color, and contrast. The score requires more pathos and bathos than depth and profundity, and Pletnev elicits from the Russian musicians a sweetly soulful and wholly polished performance. But this version misses the lightness and buoyancy of Gennady Rozhdestvensky's classic account of the work, a performance that sacrifices none of the work's drama, and allowing it space to dance. Pletnev's recording has many virtues, though, and the listener may find a place on the shelf for both his and Rozhdestvensky's versions. Ondine's sound is clean and lush, with plenty of detail. © TiVo
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Concertos - Released August 5, 2011 | RCA Red Seal

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