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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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Opera - Released February 14, 2014 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica - Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French.
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Symphonies - Released October 26, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz
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Classical - Released March 17, 2011 | Alpha

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Symphonic Music - Released March 25, 2010 | Alpha

Booklet Distinctions 4F de Télérama
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Classical - Released November 6, 2008 | Alpha

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Classical - Released November 13, 2015 | Sony Classical

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Classical - Released October 9, 2015 | Sony Classical

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In describing his interpretation of Igor Stravinsky's Le Sacre du printemps, Teodor Currentzis emphasizes the essential Russian origins of the music, and points out the folk influences that give it its cultural resonance. This is indeed the case, since the Russian and Lithuanian folk songs that Stravinsky used have been identified, and the score overflows with themes and melodic fragments that evoke an ancient tribal culture. This is perhaps the reason so much of this elastic performance of Le Sacre du printemps feels like a melodically based interpretation, rather than a sharp, rhythmic exploration, with more attention paid to articulation and phrasing than to accentuation and rhythm. While Currentzis and Musica Aeterna produce punchy moments in the expected places, they tend to slacken in subdued sections and deprive the work of the overwhelming drive and ruthless violence it needs. Opinions may vary over Currentzis' melodic approach, mainly in Part I, though from the Glorification de l'Élue to the Danse Sacrale in Part II, the orchestra kicks into gear and produces the necessary propulsion and volatility to make a convincing ending.
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Classical - Released November 4, 2016 | Sony Classical

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Classical - Released October 17, 2014 | Sony Classical

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Classical - Released October 17, 2014 | Sony Classical

There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French.
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Classical - Released February 19, 2016 | Sony Classical

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Classical - Released November 27, 2015 | Sony Classical

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Classical - Released October 27, 2017 | Sony Classical

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Classical - Released September 2, 2016 | Sony Classical

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Classical - Released October 14, 2016 | Sony Classical

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Classical - Released September 23, 2016 | Sony Classical

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Teodor Currentzis in the magazine
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