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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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Chamber Music - Released September 6, 2019 | CPO

Booklet Distinctions 5 de Diapason - Choc de Classica
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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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Opera - Released May 3, 2011 | BR-Klassik

Booklets Distinctions Diapason d'or - 4 étoiles Classica
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Symphonic Music - Released November 4, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Classical - Released August 2, 2011 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
Had this been a conventional CD release, Mikhail Pletnev's studio recording of Pyotr Il'yich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique," might have stood out as an excellent rendition of this extremely popular work, but like too many comparable recordings on the glutted market, it might have been lost in the shuffle. What makes it considerably more noticeable and desirable is the DSD recording and the hybrid-SACD format, which make it a stunner. The "Pathétique" is so familiar and beloved of audiences that it is easy to treat it casually, like aural wallpaper. But this 2011 PentaTone release makes the symphony sound utterly revitalized and refreshed, so listening to all the details and dimensions of the Russian National Orchestra's playing is a pleasure, and not an obligation. A work as perennial and, yes, timeworn as this piece can only benefit from the audiophile treatment, and the multichannel reproduction is as spacious, lush, and visceral as any live performance, bringing across full sonorities, vibrant bass lines, rich timbres, and cutting attacks. Pletnev also includes the Capriccio Italien as filler, a sunny piece that brightens the mood after the dark depression of the symphony, so this is a well-balanced program, in addition to being a sonic spectacular. © TiVo
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Classical - Released May 3, 2011 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
There is no shortage of recordings of the Symphony No. 5 in E minor by Pyotr Il'yich Tchaikovsky, so the discriminating listener need not settle for one that falls short of true excellence, however good it may be in some particulars. Such is the case with Mikhail Pletnev's multichannel recording for PentaTone, which for the most part is a respectable effort that has fine sound quality, but which is somewhat less than extraordinary. In such an audiophile presentation, one expects the Russian National Orchestra to be marvelous in sonority, deep in textures, and expansive in spatial dimensions to raise it above the levels of a merely good or satisfactory recording. Yet in spite of the resources at hand, considering that PentaTone has produced some of the finest SACDs available, it sounds about as good as one might expect of a CD, not a state-of-the-art recording. Pletnev's interpretation is lyrical and elastic, so the music sounds fresh and organically conceived, and the orchestra is responsive to the conductor's nuances. But this familiar work falls short of being exciting when it needs to be and seems to be a bit more studied than felt. (There is one unfortunate passage in the Finale where Pletnev indulges in a ritardando that slows down to a farcical sostenuto, showing bad taste.)The filler work, Francesca da Rimini, is played with melodramatic flair and flexibility, but again, the sound is nothing special for a collectors' package. © TiVo
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Classical - Released December 2, 2016 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
This double album consists of Tchaikovsky performances that have been issued in several different forms. The Symphony No. 5 in E minor, Op. 64 was recorded in 2012, when the Arctic Philharmonic Orchestra, a joint project of the cities of Tromsø and Bodø, was still called the Nordic Philharmonic; from a marketing point of view, with graphics showing the orchestra members, instruments and all, standing in the snow, the name change was a good one. This version packs more than 82 minutes of music onto the first CD; radio programmers might note that the grimly quiet passages of the Symphony No. 6 in B minor, Op. 74 ("Pathétique") may require maximum potentiometer settings, if not then some. All this said, when you get down to the music itself, these are unusually strong Tchaikovsky performances that provide serious competition for the hundreds of other recordings on the market of these three warhorse symphonies. Sample the pizzicato "Scherzo" of the Symphony No. 4 in F minor, Op. 36, where conductor Christian Lindberg delivers the requisite uncanny tension that makes the finale really seem to explode. All the other big movements are solid (try the unusually light 5/4 non-waltz from the "Pathétique"), and the ensemble work is testimony to the often astounding quality of Norway's regional orchestras. Nor can one fault the engineering; the two different recording venues are stitched seamlessly together. Highly recommended. © TiVo
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Keyboard Concertos - Released October 7, 2013 | Mirare

Hi-Res Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
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Classical - Released December 22, 2014 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Classical - Released October 19, 2018 | PentaTone

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Russian conductor Vladimir Jurowski gets most of his press from his association with the London Philharmonic Orchestra (and later, the Bavarian State Opera Orchestra), but he has also served since 2011 as chief conductor of the cumbersomely named State Academic Symphony of Russia "Evgeny Svetlanov" and knows its players well. That bodes well for this entry in the crowded marketplace of recordings of Tchaikovsky's Swan Lake, and indeed everyone involved delivers handsomely. For one thing, the recording represents a fine confluence of the talents of musicians and engineers; the precise instrumental work of the orchestra is matched by clean transparency from the audiophile PentaTone label, working (at two sessions, a year apart, it should be noted) at Moscow's Rachmaninov Hall. And it's hard to avoid the feeling that this music is Jurowski's bread and butter, for all his forays into Western music. He is brisk but elegant, never too fast, and making you feel like he's rushing you through the big tunes (all of which are here in this 1877 original version, just in a slightly different order from what you may be used to). And he seems to have singlehandedly brought the brasses of the ensemble formerly known as the USSR State Symphony Orchestra up to the international A-list. Sample the sequence of ethnic dances in Act 3 for numerous demonstrations of how he gets the elusive clean but gentle sound out of his brasses. Everything's just delightful, down to the packaging of the CD version, which includes, charmingly, a foldable swan. Highly recommended. © TiVo
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Classical - Released April 7, 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Classical - Released October 1, 2013 | Chandos

Hi-Res Booklet Distinctions Hi-Res Audio
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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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Symphonies - Released May 10, 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Classical - Released June 5, 2012 | PentaTone

Hi-Res Booklet Distinctions Diapason d'or
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Classical - Released October 18, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released May 19, 2017 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Though less well-known than his operas, his symphonies and concertos, Tchaikovsky’s piano music nonetheless contains at least essential works of his, i.e. the cycle The Seasons Op. 37b, and the Grand Sonata Op. 37. Composed at a period of crisis in the composer’s personal life, they illustrate two quite different aspects of his style: on the one hand we have the fashionable worldliness of The Seasons, pieces that almost belong to the genre of salon music; on the other hand, we see him ambitiously grappling with the large format of the classical sonata, in the tradition of his illustrious predecessors. Composed between December 1875 and May 1876, the cycle of The Seasons was written like some kind of musical calendar for the year 1876, to a commission by the publisher of the monthly review Le Nouvelliste, the idea being to issue a piano piece every month. Composed in 1878 when the classical sonata – which composers deemed to be too restrictive – was largely abandoned in favour of free-form pieces, Tchaikovsky’s Grand Sonata in G major upheld the ancient four-movement structure. The pianistic writing of the Grand Sonata conveys a sense of forceful power that seems to go beyond the tonal dimensions of the piano and conjure up the multiple sound resources of a symphony orchestra, as might be expected from someone of the composer’s power. In a letter to his younger brother, Tchaikovsky complained about the difficulties he faced in writing his sonata: “I'm working on a sonata for piano... [and its composition] does not come easily. I worked unsuccessfully, with little progress. I'm again having to force myself to work, without much enthusiasm. I can't understand why it should be the case that, in spite of so many favourable circumstances, I’m not in the mood for work. I'm having to squeeze out of myself weak and feeble ideas, and ruminate over each bar. But I keep at it, and hope that inspiration will suddenly strike.” Tchaikovsky isn’t particularly a piano composer; and the only recording of him that Nikolai Lugansky had made up till now was of the First Piano Concerto; even though the pianist had played several of his works for the Tchaikovsky Competition in 1994. He has been described by Gramophone as ‘the most trailblazing and meteoric performer of all’ for his extraordinary depth and versatility. © SM/Qobuz
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Classical - Released September 22, 2017 | Deutsche Grammophon (DG)

Hi-Res Distinctions 4 étoiles Classica
After his exciting journey into the musical tradition of Eastern Europe (Journey East) and the Baroque sound-scapes of J.S. Bach (Bach), Nemanja Radulović now turns his attention to the Russian master of the Romantic era, Tchaikovsky, excelling as violinist and (in an arrangement of the famed Rococo-Variations for viola and string ensemble) a violist. For Nemanja Radulović a personal approach when creating an album is essential. Bringing together Tchaikovsky’s two most important works for solo strings and orchestra is bringing together the two of the most relevant poles of his life –  Belgrade and Paris: The Rococo Variations are linked to the first part of his life, when he was a student in Belgrade before the Balkan war. At this time Nemanja not only used to playing the violin, but also the viola and sometimes the cello. Playing an arranged viola version of the Rococo variations which originally were composed for cello takes him back to his musical childhood in Belgrade. Yvan Cassar, who worked with Nemanja on Journey East has now produced compelling arrangements for strings and piano of the Rococo Variations. They provide a lightness and an energy that are perfectly suited for Tchaikovsky’s music. The Rococo Variations were recorded in Belgrade with ensemble Double Sens (French for: “double direction” & “double meaning”). The group reflects perfectly Nemanja’s dual past between Paris and Belgrade as it includes his former student-friends from Serbia, and his friends from the Conservatoire de Paris (including 2 members of the Fontanarosa family). The Tchaikovsky concerto is linked to Nemanja’s arrival in Paris. He began to work on the concerto with his Conservatoire de Paris’ teacher Patrice Fontanarosa. Since then, this piece has been the concerto Nemanja has played most often during his career, opening the doors to the great concert halls of the world like in Paris, London or Tokyo. The concerto was recorded in Istanbul with the Borusan Istanbul Philharmonic Orchestra and Sascha Goetzel, with which Nemanja feels he finds the freedom to develop and express what is fundamentally important to him in the respective work.
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Opera - Released September 4, 2015 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason