Pyotr Illitch Tchaïkovski

Like much of Tchaikovsky's musical output, his ballet scores were often subject to criticism. This is certainly true of his first attempt at ballet, Swan Lake. Although still firmly rooted in the traditions of the day, Tchaikovsky certainly tried to move out on his own by making the score much more orchestra-based than most of his predecessors. This, of course, drew the ire of dancers and theater directors alike as the attention was taken away from the dancers and placed on the musicians. History shines more favorably on Tchaikovsky's independent streak, making him the first Russian composer whose ballet scores are played as stand-alone orchestral works, not to mention the fact that Tchaikovsky was unknowingly paving the way for a string of subsequent Russian ballet composers like Stravinsky and Prokofiev. Excerpts from Swan Lake, Sleeping Beauty, and the perennial holiday favorite the Nutcracker are featured on this album by the Royal Liverpool Philharmonic Orchestra. Russian conductor Vasily Petrenko, who, at the rather young age of 29, became the orchestra's principal conductor in 2006, leads the orchestra in an extremely energetic and lively reading of these works. Most of the numbers are performed much more quickly than would ever be heard with a dance company, but the sprightly tempos make for especially exciting listening. Petrenko combines the orchestra's brilliant sound and exceptional technical precision with his own knowledge of the Russian master to create this enjoyable, appealing album. © TiVo

The first volume of a survey of Pyotr Il'yich Tchaikovsky's symphonies, this two-fer from Onyx presents the Symphony No. 1 in G minor, "Winter Dreams," the Symphony No. 2 in C minor, "Little Russian," and the Symphony No. 5 in E minor, in thrilling performances by Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. This package follows their 2015 release of The Tchaikovsky Album on the Classic FM label, and noting their 2014 release of Tchaikovsky's first two piano concertos on Onyx, it appears that they have made a special commitment to the composer. This is an auspicious beginning for a Tchaikovsky cycle, with atmospheric and expressive interpretations that Petrenko makes his own, and the vibrant and passionate playing of the Liverpool musicians is convincingly Russian in its rich sonorities and weighty emotional depth. Even though the first two symphonies are less familiar to listeners than the Symphony No. 5, which is one of the most popular works in the repertoire, they are just as rewarding and exciting in these spontaneous performances, and Petrenko adds a fiery intensity that is seldom heard in the early works. This series warrants serious attention, and admirers of Petrenko will want to hear all of these superb recordings. © TiVo

Audiophiles may desire this CD of Tchaikovsky's Symphony No. 4 and the Romeo and Juliet Overture for its splendid sound quality, but music lovers may curb their enthusiasm because there is little here to rave about. From the opening fanfares, it is immediately apparent that Channel Classics has employed state-of-the-art technology to best advantage, and the listener may settle in for a real sonic feast. However, the thrill of hearing the vivid timbres and extraordinary orchestral depth soon changes to a combination of dutiful listening and distracted boredom. The Budapest Festival Orchestra, directed by Ivan Fischer, delivers fairly standard performances of these familiar warhorses: not especially magnificent or terrible, but merely routine and competent renditions that neither enthrall nor offend. The restraint and predictability are perhaps due to the needs of the project; the emphasis on vivid sound quality seems to overshadow the music-making and inhibits the musicians from truly expressive playing. Yes, they can bring the roof down in spectacular climaxes -- the symphony's Finale makes that abundantly clear -- but the quieter music, say, in the Andantino and the Scherzo, is uncompelling and lacks inspiration. Romeo and Juliet is decent filler, but like the symphony, it only makes a splash in the loudest passages. Channel Classics released this recording in both CD and SACD formats, with exceptional reproduction. © TiVo