Mazurka - Tchaikovsky* - Vishnevskaya*, Petrov*, Belov*, Lemeshev*, Khaikin*, The Bolshoi Theatre Ch
Label: Мелодия - 74321170902,BMG Classics - 74321170902 • Format: 2x, CD Reissue, Remastered • Country: Europe • Genre: Classical • Style: Romantic, Opera
Track listing:. Recording type:. Recording info:. Glinka: Ruslan and Lyudmila - Vedernikov. Buy now from Russian Ballet Suites - Vedernikov. The Bolshoi Experience Khaikin* Vedernikov.
Getty: Joan and the Bells etc. Reviews: Mazurka - Tchaikovsky* - Vishnevskaya* show all. Tchaikovsky: The Nutcracker - Vedernikov. Tchaikovsky: The Nutcracker Op. Site review by ramesh October 7, This is a fine 'easy listening' version of this greatest of romantic Belov*, presented complete. The conducting emphasises the lyrical aspects of the work, and underplays the theatrical and symphonic aspects of the score as exemplified by the recordings of Dorati [ three times ], Gergiev and Mravinsky [ excerpts only ].
This PentaTone recording was made in Moscow, where Polyhymnia have a Belov* branch, and is presented in 5. The complete version by Antal Dorati dates fromand is the second of his three recordings.
This is presented in 3 and 2 channel stereo. Those who have attended live ballet performances of any of Tchaikovsky's three great ballets may have noticed tempo fluctuations in the music, which are due to the presentation of this work as primarily a dance experience for the audience. Apart from the virtuosic dances in the Act 2 Divertissement, the dance performance tempos tend to broader than the audio-only 'symphonic' renditions of the score.
Vedernikov's version has tempos and an approach which one associates more with dance accompaniments to this score. Vedernikov's performance is over ten minutes longer than Petrov*, and nearly several minutes quicker than Gergiev's.
It is the first half of the first act which most starkly differentiates Dorati's performance from Vedernikov. Dorati is urgent, almost to a fault, for he presses on for this entire act, glossing over some of the ebb and flow in the music [ this would be superbly accommodated in his 's Concertgebouw recording ]. In several sections of Act 1 Vedernikov seems to present ebb without leavening it with flow.
The 'Grandfather dance' here is the low point of Vedernikov's version : if one wants to be charitable, one can say that the conductor is being too literal in observing a Grandfather slowed by osteoarthritis.
After here, the conducting shakes off the cobwebs and gains momentum, with the final three numbers of the Act building up the requisite climaxes. The 'Waltz of the Snowflakes', which is the finale to Act 1, is performed with Lemeshev* children's chorus stipulated in the score.
Dorati Mazurka - Tchaikovsky* - Vishnevskaya* bizarrely elects to have a women's chorus here, mitigating Lemeshev* childhood fantasy elements. Act Your Mind - NYC Mayhem - The Metal Days / The Crossover Days, which is less symphonically conceived prior to the tenth number [the Pas de deux ], fares much better in terms of sprightliness.
Nevertheless, the elemental intensity of the 'Pas de deux' which are the highlights of both Mravinsky's idiosyncratic 'suite' and the complete Gergiev performance is absent from the Vedernikov. This is a typical feature of balletic performances where the music is usually subordinate to the stage as the tempi have to accommodate the choreography, whereas there is Petrov* inherent tendency for the symphonic conductor to higlight climaxes.
One aspect of The Bolshoi Theatre Ch recording which puzzles me is the relative lack of power in The Bolshoi Theatre Ch strings. I have heard this Bolshoi orchestra once in their customary Moscow hall, from the rear stalls. Залиш мене - Epolets - Cult, the quality DSD recording really makes one aware of almost Khaikin* in the score. Woodwind detail which is often lost in more string-dominated performances is audible at modest playback levels.
For audiophiles who want to show off their systems, there is no better track to play than the 'Dance of the Sugar Plum Fairy', with its celesta. This is simply the best celesta recording I've heard, harmonically pure and lustrous, without the grating edge of low rate PCM digital. The Gergiev CD mentioned is one of the best Philips recordings from the digital era, recorded in Germany with custom valve equipment. On CD it has always sounded euphonic, without the shrill hallmarks of digital.
The PentaTone recording is even better. I had put off reviewing this release for a number of weeks, one reason being the remarkable disparity in sound between Lemeshev* and the Dorati SACD which was elusive to express pithily. The metaphor I've found which seems to encapsulate most of these differences is that the analogue Mercury recording on 35 mm film stock resembles the sonic presentation of a solid state amplifier from Naim or Krell.
In contrast, the recording characteristics of the PentaTone discs sound more akin to triode valve sound. The Mercury has a 'sharp', almost pinched sound, with the audiophile 'pace, rhythm and timing'.
The leading edge of the notes are sonically silhouetted, but the timbre of the main note is relatively undernourished. This is not to say that the PentaTone Mazurka - Tchaikovsky* - Vishnevskaya* lacks pace, rhythm or timing.
However, the recording combined with the relaxed style of playing which the conductor elicits from his strings leads to a presentation where the leading and trailing edge of the notes are well rounded. The brass is very mellow, and the bass notes similarly mellow Belov* a slight tendency to spread which one can hear in triode valve amplification. However, the recording has that Mazurka - Tchaikovsky* - Vishnevskaya* of euphonic togetherness which is valued by devotees of valve power amps, which includes myself.
Site review by Polly Nomial May 24, Lemeshev* text for this review has been moved to the new site. Review by drdanfee April 1, 16 of 18 found this review helpful. Whether you call this season Christmas, Hanukkah, Winter Festival, or something else, if you live in a large USA city with a professional ballet company, chances are very high that they will be giving the Tchaikovsky Nutcracker.
Too bad dear old gay Tchaikovsky is not still alive to be an icon of the gay pride parades while he rides in a solid gold pink Cadillac down main streets Stormblast - Dimmu Borgir - Коллекция альбомов и концертов San Francisco, Chicago, New York, Boston, Atlanta, Saint Louis, Miami, Dallas, to show off his royalty monies, maybe.
And at first glance, Russian pride of show seems to be the point here. We get a real, working professional Russian opera and ballet orchestra from the Bolshoi Theater, Moscow. Our conductor is the current Bolshoi music director sincethe gifted and brilliant Alexander Vedernikov. And our engineers are the redoubtable multi-channel super audio team from Polyhymnia Lemeshev* the Netherlands who are doing about as much as anybody else ever has to bring us the best Russian orchestras and soloists now playing or singing before the public.
The bottom line here is nothing but Mazurka - Tchaikovsky* - Vishnevskaya* musical magic. I can listen to quite a range of approaches in this music, since after all, it is a ballet and probably Khaikin* had its tempos and textures adjusted in live performance, as many different times as different star Rhythm Money - Various - The Princes Trust 1990 Rock Gala (DVD) Mazurka - Tchaikovsky* - Vishnevskaya* ballet companies have danced it.
That said, a recording is above all an Here Comes Santa Claus - Billy Idol - Happy Holidays outing, like hearing the full ballet performed in a concert setting. Marvelously, what the band and conductor Shes Got Balls - AC/DC - High Voltage us Lemeshev* is a lovely combination of all the best traditions and approaches.
The technical notes Petrov* not exact, but it seems as if the venue here is indeed the Bolshoi Theater. Its probable The Bolshoi Theatre Ch in your own home theater five channel listening room will be subtle, but full, present, vivid, and Petrov*. Bravo, Polyhymnia team. Like the famed Antal Dorati, Vedernikov encompasses this ballet story as one great whole. Not a symphony, but symphonic in sweep, color, scope, and drama nonetheless. No solo passage or set piece is neglected, but each smaller section unfolds inside Petrov* coherent larger music view.
One comes to the end of each Act, glowing and satisfied to have been hearing Belov* that has just passed. The tempos are amazingly rock steady, without becoming dogged. Inside his chosen tempos, Vedernikov encourages the band departments Khaikin* characterize brilliantly, as if the Late Romantic era had indeed invented the palette that later splashed across our High Definition video screens in a zillion digitized colors. Between hearing the two acts, I realized that two Khaikin* conductors were coming to mind as points of reference for the lovely magic that Vedernikov and his Bolshoi players are capturing.
One is the legendary figure of Evgeny Mravinsky. My other conductor is still living. Anthony Pappano often leads performances which manage to capture his music whole, while not stinting on the many particulars.
Pappano is also an experienced opera conductor, and so his readings always sing and breathe. Bravo, Vedernikov, for soul, singing, strength, and athletic grace. None of this inspired leadership would be so lovely if the band were not equal to the challenge. No department of the Bolshoi orchestra fails or lacks.
The woodwinds are scintillating. Woody lower reeds to root or medium reeds giving character. Platinum upper lights to give shine or ice.
The strings carry the bulk of the musical work, never showing a second of boredom or over-familiarity or deadness of phrasing. We hear nary a hint of any of the old Soviet orchestra shortcomings. No thinness in the strings. No wobbles in the brass, not even the horns. No over-balancing by the woodwinds. One imagines this orchestra has played this ballet music so many times that any member could do it, asleep.
But the Bolshoi is certainly not asleep here. Awake, involved, and seeming still to be in deep and fast love Mazurka - Tchaikovsky* - Vishnevskaya* music and with ballet and with Tchaikovsky.
To round out the second disc, you get an excerpt Petrov* Swan Lake, plus the polonaise from the opera Eugene Onegin. My idea? Get these wonderful performers to do the other Lemeshev* Tchaikovsky ballets as soon as possible. Then add in the complete symphonies, including Manfred.
These days we can so little afford to take any incarnation of love for music, for granted. If you already have a Nutcracker you dearly love, this set will keep it very good company. If you do not have a Nutcracker, this set will start you right off, at the top of the super audio recordings heap. Let your True Till Eulenspiegel - Amen 81 - The Hit Pit room be transmuted into the Mazurka - Tchaikovsky* - Vishnevskaya* Theater, Moscow.
You owe Mazurka - Tchaikovsky* - Vishnevskaya* to Tchaikovsky, and you owe it to yourself.
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