Tchaikovsky: Symphonies Nos. 4, 5 & 6
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Audio CD (25 October, 1990)
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Editorial Review

These recordings by Evgeny Mravinsky and his Leningrad Philharmonic, taped in the autumn of 1960 while they were on tour in London, are among the absolute classics of the catalog. They are readings of hair-raising intensity--the finale of the Fourth is marked allegro con fuoco, and if you want to know what con fuoco means, all you have to do is listen for a moment. No one else has ever had the nerve, or the ability, to play the music this way. The treatment is very Russian: the extremes are more extreme, the passions more feverish, the melancholy darker, the climaxes louder. In that department, the development section of the first movement of the Pathètique has to be heard to be believed. The sound is remarkably good for the time, a little edgy in the loudest pages but wonderfully present, just like the performances themselves. --Ted Libbey ... Read more

Reviews (34)

Rotten Filth for Old Age Sentimentalists
Tchaikovsky is a rather bland, boring composer whose frequent bouts of joy have made him a superstar in the world of classical music, when closely examined though, he's nothing but an apologist for old age sentimentalists who hark to the day's of early Russian evening balls, complete with ushers at the door wearing red velvet. Don't be fooled by his quick rhythms and excessive stops in the middle of the concert, he'll fool no one. Avoid him and his weariness.

Landmark Tchaikovsky
Evgeny Mravinsky and the Leningrad Philharmonic Orchestra remain unsurpassed in their 1960 rendering of these Tchaikovsky symphonies. It's not a question of technical precision nor musical beauty, but these recordings create an emotional climate which is totally mind-blowing. Every time one turns back to them, even after having heard several other commendable versions of these Tchaikovsky symphonies, the impact of Mravinsky and his orchestra is as formidable as it was almost forty-five years ago.

A landmark recording which should be part of any serious self-respecting classical music collection.

One of the great sets of the latter Tchaikovsky symphonies..
...And possibly the most "Russian."

First the blemishes: the Fifth is a bit "ratty." It's one of his weaker symphonies anyway to my ear, as though he is going through the motions more than he's convinced by his own symphonic argument. I've never heard ANYONE bring off the finale convincingly: the transition from the opening slow section to the allegro is...well, there is none, and it's hard for any conductor to make sense of the schizophrenic nature of the movement. Mravinsky is fine, though Koussevitsky with the BSO and (believe it or not) Previn with the RPO on Telarc are among the very best here. Mravinsky's Fifth is arguably the most dispensible recording on the set. The Fouth, however, is nothing short of glorious--the only better Fourth I've heard is another Mravinsky, part of Melodiya/BMG's "Mravinsky Edition," on Volume 18, now regrettably out of print. The sound here is better, however. Some may be put off by the harsh brass and the prominent use of vibrato by trumpets and French horns, but this was the style of Russian orchestras at one time, and may have even been the style in the time of Tchaikovsky himself. For those of you raised on Ormandy or Previn, don't expect lush pillows of Romanticism. This is Tchaikovsky straight up, 80 proof. But the anguish of the first movement puts one on edge--they really FEEL this music. The slow movement is appropriately sad. The pizzicato scherzo sounds like it belongs in the Nutcracker--it is so delightful and fleet and serves as a delightful contrast to the movement that preceeded it. The finale requires that you be strapped in and keep your hands inside the car until the ride comes to a complete stop. Only Bernstein is as wild with this symphony, but to me Mravinsky sounds more heartful and convincing. (Berstein is fun, but sometimes sounds showy for showman's sake.)

Under Mravinsky's baton, the Sixth takes on a tragedy as it does with few others. "Steam-rollered" describes it well. Forget Bernstein's 1988 DG recording with the twice-as-slow finale. Yes it has its merits and is an interesting intellectual conception, but while Bernstein's works *harder,* this one just works better, if you get the difference. And Mravinsky accomplishes his goals without resorting to extremes in tempo, dynamics, articulation or anything else. His first movement is as anguished and explosive as any on record. But for my money it's the second movement--often played with the least character and adventurousness--that stands out here. Mravinsky finds a *deep* streak of tragedy throughout this throbbing 5/4 "Waltz," and that is structurally important, because the second theme from this movement returns in the final bars of the finale, to devastating effect. Such an important moment, yet so many conductors overlook it and its emotional connection to *this* (second) movement, and thus it can sound merely tacked on. Yet so much that is key in this symphony happens on the last page-- the funeral gong; the coda containing the second movement's secondary theme (now played with devastating bleakness); and most fascinating of all, something I never find mentioned: the "Rest Him With The Saints" funeral quotation in the first movement has been commented on by critics many times, but they ignore the fact that it apparently returns in a variation (or a development) here in the coda to the finale, right after the funeral gong. To me that seems significant, whether you believe the composer took his life, was poisoned, or merely drank a pitcher of bad water. (And I don't really have an opinion. No matter what the answer, it doesn't change the notes on paper.)

The recordings range from good to fair, but there's nothing that should keep anyone from listening unless DDD sound is mandatory. (And if it is I feel sorry for you, because today's crop of Tchaikovsky conductors cannot hold a candle to Mravinsky, Koussevitsky, Ormandy, [earlier] Bernstein, and others.) Most important, these recordings have the electricity and spontaneity of live performances, especially the 4th and 6th. There is also a stunning Mravinsky 6th in the aforementioned BMG Mravinsky box set (volume 19), but the sound there is very bad and compressed and in this instance I would recommend this DG recording more.

All the performances feature orchestra coloration, particularly in the winds and brass, that is different from what we are used to from "Western" orchestras (or Russian orchestras of today, for that matter,which have become homogenized.) Apparently the sound--with a more distinctive character among the different sections of the orchestra, less blend, less cohesiveness--has put off some people who've reviewed this recording here, but I'd rather hear these war-horses played differently (and arguably more "authentically") than one gets with your typical Bernstein, Ormandy, Szell, Ashkenazy. This isn't meant as a slight to any of those conductors, but there are already plenty of recordings with well-blended, larger-than-life sound that's as pure as the driven snow--This is Tchaikovsky of flesh and bone. If you're interested in Peter Ilych or in 19th century Russian music in general, your collection has a big gap without this issue. ... Read more

Asin: B000001G8B
Subjects:  1. Classical    2. Symphonic   

Tschaikovsky: Ballet Suites / Rostropovich, Berlin Philharmonic Orchestra
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Audio CD (11 March, 1997)
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Editorial Review

Shortly after recording these three ballet suites in 1978, Mstislav Rostropovich likened conducting the Berlin Philharmonic to driving a locomotive. You get on, and you go where it takes you, he said--but in this case, the orchestra went where he wanted it to go. The playing is magnificent, but it is the characterization, the things Rostropovich gets the players to do that they wouldn't otherwise have done, that makes these accounts so memorable. As you listen, you are transported to a different world, for no conductor understands Tchaikovsky's soul better than Rostropovich. The delicacy is amazing, the power overwhelming; the analog recording captures it all in outstanding fashion. --Ted Libbey ... Read more

Reviews (13)

The tracks you can hear are great
If you lay down and listen to this CD you will hear some great tracks, but you will hear minutes of silence inbetween where there is just the faint hint of a track. Of course you could turn up the volume but then you wake up everyone in the house with the next track. The fix is to be ready and adjust the volume between tracks, but this is what the sound engineer should have done before I wasted my money.

THE ESSENCE OF TCHAIKOVSKY'S BELOVED BALLETS . . .
____________________________________________________________________________

No classical collection would be complete without a representation of Tchaikovsky ballet music. In an abbreviated 68 minutes, Deutsche Grammophon has probably come as close as possible to capturing the true essence of these three gorgeous ballet scores. Conductor Rostropovich and the Berlin Philharmonic perform brilliantly and the recording/sound quality is superb. For those who love the music, but insist upon hearing an entire score only at the ballet, this CD is a sure winner!

Outstanding Tchaikovsky disc
Outstanding versions of Tchaikovsky's three popular ballet suites. The Berlin Philharmonic is in glowing form and Mstislav Rostropovich on the rostrum sounds inspired as none else. Warmly and dynamically recorded, with plenty of orchestral detail, this thrilling disc may stand as a criterion from the analogue era.
If you only need the suites, or if you think this music no longer holds any surprises for you, this is the CD to go for. Highly recommended. ... Read more

Asin: B000001GX7
Subjects:  1. Classical    2. Orchestral   

Tchaikovsky - Eugen Onegin / T. Allen, Freni, von Otter, Shicoff, Burchuladze; Levine
Average Customer Review:
Audio CD (25 October, 1990)
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Editorial Review

Levine has assembled a cast strong in both singing and acting, although Mirella Freni is a bit mature for the teenage Tatiana and there are no Russians in the leading roles. The conducting quite properly emphasizes the psychological and emotional extremes in a story deeply imbued with the Byronic attitudes and poses of literary Romanticism. The orchestra, in James Levine's (and Tchaikovsky's) hands becomes a character in this drama as vital as any of the singers, and Pushkin's poem-novel, the source of the opera, can be felt with unusual clarity underlying this interpretation. --Joe McLellan ... Read more

Reviews (10)

good
A very good performance from all but to me the Solti version is number one.Stuart Burrows as Lensky is melting. His aria makes me cry every time. Nothing compares.

I must admit to buying it to see if I felt the same but it didn't quite hit the note for me. Nevertheless,it is good, but not quite what I wanted to hear.

much better than other non-Russian
I must differ to the previous opinion. Russian of the main singers is bearable enough, especially comparing to the Solti interpretation that sounds really strange. I mean pretty strange conducting, strange choose for the singers, and dreadful, unprofessionally sounding Russian. I can point out just two strong points of that interpretation, which are Giaurov as Gremin and thorough booklet. Otherwise Levine's CD is fine. Probably, Freni is the best Tatiana recorded ever, Shikoff is fabulous (just compare with Burrows!), Levine conducts agreeably, and the record is beautifully scaled. Anyway, I'd prefer entirely Russian interpretation. I am sorry about that.

A very good recording!
This opera is certainly not Boring, as one reviewer stated!
Eugene Onegin contains (in my mind) the most breathtaking flow of absolutely glorious melody in all of Opera.Perhaps Tschaikovsky only matched this in his ballet, The Nutcracker.
The performance here is quite fine.Especially notable is the exciting orchestral playing under the baton of James Levine, wonderfully Slavic and dramatic!Freni, as usual, is the most intelligent of lyrico-spinto sopranos, lightening her voice successfully as she does for all her "young" roles such as Manon Lescaut and Madama Butterfly.Hers may not be the most authentic sounding Russian accent, but it is so nice to have a beautiful Italian voice in such a role.Kudos to her for singing in so many different languages, very rare for an Italian soprano (like Tebaldi).Her voice has an appropriately more mature sound for the thrilling and heart breaking final scene, though I do slightly prefer the role sung by the excellent Kubiak on the Solti disc, with a better Russian accent.
Thomas Allen is a very fine Onegin, aptly dispassionate in the first two acts, rising in operatic passion and drama in the final scene with Tatyana.One oddity is that he omits the not-so-high final note of his act 1 arioso.E strano!
Neil Shicoff is wonderful in the heroic moments of Lensky's music, notably in the final outcry at the end of the act two party scene.He holds that high note forever!In the more intimate moments, the poetic and introverted Lenski is not as well displayed by Shicoff's voice.He cannot match the gorgeously sung performance of Stuart Burrows on the Solti set, even if Burrows is not as exciting in Lenski's outbursts in the party scene.
The rest of the cast is very well sung with Senechal beautifully caught, as he was many years earlier for Solti.
An excellent recording, but I still prefer the Solti set a bit more.... though it was my first love, and it's said that one's first love is always the most special.:) ... Read more

Asin: B000001GA4
Subjects:  1. Classical    2. Opera   

Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 2
Average Customer Review:
Audio CD (12 January, 1993)
list price: $17.98 -- our price: $13.99
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Editorial Review

What a story there is behind this recording! When Van Cliburn won the InternationalTchaikovsky Competition in Moscow at the height of the Cold War with his playing of this concerto, itcreated an international sensation. The recording followed immediately thereafter, and Cliburn waslaunched on an international career of unprecedented celebrity for a classical musician. Perhaps theattention was too much, too soon, given his subsequent burn-out and retirement from public life.Fortunately, we have these unique recordings to document what was, by all accounts, a genuinephenomenon. This is the disc "heard 'round the world." --David Hurwitz ... Read more

Reviews (33)

The Best
This is the ultimate version of both the tchaikovsky and rachmaninoff concertos. You can clearly hear every note- even in the long runs in rachmaninoff. Cliburn plays with grace and style. A must have

Class Act
Here in one convenient package are the T1 and Rach2. If those sound to you more like sci-fi creatures in a James Cameron epic rather than the nicknames of two of the quintessential Russian works in musical literature - well, what the heck are you doing browsing in the classical aisle?Nicknames, after all, often come out of such great affection and familiarity with someone or something that formal names just no longer feel appropriate.And that's the way it is with Tchaikovsky's and Rachmaninoff's masterpieces of the concerto.And who would've thought a Texan, of all things, would be the one to bring Commie music to such popular heights? This recording has been a bestseller in America ever since it came out in the 50s. And for good reason.Van Cliburn was born to play this stuff.Infinitely classy, elegant, lovely and thoughtful playing is contained here.His is a sprightly, bright expressive tone where thoughts are intertwined with deep yet understated feeling so that musical lines flow naturally from one to the next - a beauty that is everflowing, modulated, sustained. You've got to hear it to believe it.The amazing thing is Cliburn, who possesses such nimble fingers, makes this difficult music seem so effortless.Both Kondrashin and Reiner, as conductors, know their piano man is the star; their support could not be more sensitive and both orchestras engage their soloist in lively dialogue throughout. Ah, and then there's the music.There are enough famous themes here even for the neophyte to say, "Haven't I heard this in a movie somewhere?"For the rest of us, these piano concertos take us into the depths of our Romantic soul. Perhaps a lost love, a dream for the future, a great regret, or great hope.Whatever it may be, this music takes us there.*****

Other references: Top recommendation from NPR Guide, Jim Svejda's classical guides, Penguin Guide

The Best Tchaikovsky and a great Rach no.2
This is a great C.D. In October of 2004 I saw a very good performance of the Rach 2. I nver really took an interest in piano repetoire because I myself am a violinist. But, I really liked this concerto and I heard the famous had Horowitz Toscanini Thcaikovsky recording before and really enjoyed it.So, I thought this would be a good buy. I got this C.D. for the Rachmaninoff, but I really like the Tchaikovsky. Althought I'm sure some people will disagree, I like this recording even better than the Horowitz Toscanini. Buy it. ... Read more

Asin: B000003EUG
Subjects:  1. Classical    2. Concerto    3. Orchestral & Symphonic   

Tchaikovsky: Piano Concerto No. 1 / Violin Concerto
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Audio CD (05 April, 1991)
list price: $6.98
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Editorial Review

David Oistrakh was one of those violinists beloved by people who don't especially like violinists. Don't get me wrong, plenty of violin aficionados love him too. But the fact that he played with such warmth of tone and musicality, never indulging in the screeching cat-music stuff that some violinists think sounds flashy, makes him uniquely listenable to folks not into violin playing for its own sake. Perhaps the fact that he was also a distinguished conductor had something to do with it, for he always seems to know where he is--how everything fits together. His performance of the Tchaikovsky Violin Concerto is a case in point: soulful, exciting, never ragged or overblown. Add Emil Gilels' epic rendering of the Piano Concerto and how can you refuse? --David Hurwitz ... Read more

Reviews (13)

magnifico y pomposo
Cualquiera que escuche este cd sabra que son dos de los mejores conciertos jamas escritos, el Piano Concerto Nº 1 en este caso es presentado en vivo, muy pomposo pero vibrante, Mehta es un director de espectacularidad exagerada pero formalmente tenemos que decir que Gilels nos hace la grabación mas aceptable. Una grabación en vivo por cierto incluye muchos ruidos indeseables pero todas las "LIVE" son asi. Disfrutenlo como si estuvieran ahi con ganas de maravillarse e impresionarse, cierren los ojos y disfrutaran de una gran concierto en vivo.
Por otro lado, Ormandy y Oistrakh llegan a la cuspide, es realmente excepcional y maravilloso, Ormandy con mas de cuarenta años a cargo de la orquesta de Philadelphia llega a sonar impecable, algunos criticos han dicho que es el director de los conciertos, nadie acompaña a un solista como lo hace Ormandy y su orquesta. Y Oistrakh es verdaderamente insuperable, el primer movimiento alcanza niveles de emoción y fuerza geniales, una canción en el segundo movimiento de simplicidad y belleza envidiable, y por úlitimo un finale apasionado, allegro de gran colorido y espectacularidad. De verdad no se puede conseguir una grabación de este nivel a precio medio. Dos conciertos que estaran en sus oidos por siempre.

Cough-mania
This is surely going to be the recording that I will get rid of ASAP. I just can not tolerate a person sitting and goughing persistently througt a recording. A certain record label, was once critizised for using harddisk recordings (this was in the mid 90's). Recording the same symphony several times and editing (copy-pasting) them so they would get a flawless performance. One of the arguments for doing this were: 'It is OK that a performance isn't flawless when hearing it live in a concert-hall, but when you sit at home, listening to a record, you don't want to hear the same error being made, in the exact same place every single time.'
Well if you find it interresting to listen to Mr. Cough... you are welcome.

Why you should get this CD
Okay, let's get real. What other label gives you classic vintage performances by two of the greatest artists in the twentieth century performing two favorites for under $10? Not many. And this CD is worth every cent. Here is my opionion of why:

1. The live performance are riveting and full of vigor. There is the human touch of coughs between movements. There is an enthusiastic cheer at the end. How nice!

2. Gilel's Tchaikovsky is perfect. I mean perfect. I might argue that in this particular recording, Gilel's technical mastery and range of sounds and emotions exceeds that of Richter or other great pianists' recordings.

3. David Oistrakh's violin produces such lovely, full and vibrant tones.

4. Oistrakh's Tchaikovsky interpretation is amazingly lyrical. Toward the end of the first movement, the heartfelt wailes of trills in the cadenza transition to tranquil return to the opening theme. Then, Oistrakh literally soars toward glory to the end.

5. I think you'll agree (and it's not going to cost you much to verify my claim), this is a far superior performance to J. Heifetz, N. Milstein or I. Perlman. ... Read more

Asin: B00000276V
Subjects:  1. Classical    2. Concerto    3. Orchestral & Symphonic   

Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Average Customer Review:
Audio CD (15 August, 1995)
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Editorial Review

This is madness in action. Martha Argerich's RachmaninoffThird is the fastest and most physically exciting you'll ever hear. She'srecorded live, and the balances are a little strange as a result. You can alsotell that Riccardo Chailly and his orchestra are having a hell of time trying tokeep up with her, while anticipating what she's about to do next--but so what?This is as close as you can come to an experience of spontaneous combustion, andsurvive. The Tchaikovsky is, if possible, even wilder, with quite a few missednotes. But with an artist like Argerich, you simply can't judge the performanceone note at a time. So go ahead: live dangerously. --David Hurwitz ... Read more

Reviews (49)

A real gem
Wow, after all the superlatives expressed and accolades showered on this CD by so many reviewers, I'm not sure I can add anything else but I'll try.I just want to share simply how I felt about it although I'm not a strictly classical music person.

When I first heard this CD, I ask myself what's all the fuss and hype was about.What's with the great reviews and even personal comments I've heard like "this is awesome, man!" - this coming from a total stranger who saw me buying it in the music shop.The Rach 2 I've heard and loved, but I've never came across the Rach 3 before in all my 50 years.My immediate reaction on hearing the CD on a modest hi-fi set-up was pure disappointment.Initial impression I get is that the Rach 3 sound like a mangled mess of musical notes, filled with seemingly loud, meandering and unmelodic banging on the piano.It seemed someone possessed, even mad was playing the music!Frankly, I don't know what to make out of the music, of what it was all about, particularly why it has been described as romantic when it doesn't evoke the slightest bit of romanticism in me.I considered the experience one mainly of confusion and the music a lot of "sound and fury signifying nothing".

Feeling dissatisfied and frustrated after listening to the CD a couple of times, I borrowed the high-end audio system of a friend and played this CD again late one night.This was then that I got a "revelation" of the Rach 3.What beauty, what passion, what wonder that lies in this piece of music!How thrilling, exciting, exhilarating the performance was.To me, it was like I was standing in the conductor's rostrum, listening to every beautiful note, every captivating sound, coming from both the piano and the orchestra. I can feel the atmosphere of the concert hall as the music float, soar and swirl into space.Musical notes upon musical notes produced by a pair of magical hands was coming out fast and furious - the high and low, soft and loud, slow and fast, simple and complex, harmonious and discordant, converging and diverging, agitated and soothing etc.Everything was full, rich, detailed and warm.Overall, it was all moving, evocative, and passionate.I was transfixed, fascinated, mesmerised by the music - or possessed by it if you will.I could not pull myself away until the very end of the concerto, until the final climax, until the last note has died away.With no offence meant, the experience wasn't so much like a wild orgy, as someone described it, but more like great love making with an earth moving climax.Or put another way, the music invokes in me the sense of great and mighty rushes of water flowing down a mountain relentlessly and inexorably to its final destination, culminating in a awesome waterfall (Niagara?) - all these remind me ofhuman passions sometimes.Interspersed in between are the swirls and twirls of whirlpools and undercurrents, as well as quiet moments of tranquillity, peace and reflection.Now I can understand why some people find classical music so addictive and all consuming.This is what great music is and should be - music that touch, move, inspire and communicate with the listener.

I believe this experience was possible mainly because Martha Argerich is such a consummate yet sensitive master at the piano. Only performers like her appear to disappear into the performance and let the music come to life.Virtuoso performers who have big egos and think too highly of themselves tend to draw attention to themselves (see how great I am!) rather than to the music. I find their performances tend to be technical, cold, distant and uninvolving (regardless of how brilliant some think they are) betraying hints of aloofness, disdain, indifference to and even contempt for the music that's being played.Not so here.Here, the music comes through loud and clear to make direct contact with us at the right places, the heart first and then the mind.

Since then, I have listened to about fifteen other recordings of the Rach 3 by great artiste like Horowitz/Reiner/RCA/1951, Janis/Dorati/LSO/Mercury/1958. Some may be technically brilliant but leave me cold, disinterested and bored.These tend to emphasise more about the virtuosity/virtuoso than the musicality/music as mentioned earlier.This CD is neither the greatest nor the best but it is among the top 3 and is a MUST BUY.Get this and also the one by Byron Janis.Together, they form an ideal collection, offering comparisons and contrasts - one is a live performance the other is not, one is by a man and the other a woman, one approaches the music in a relatively more noble, controlled manner the other more in a free and abandon-like manner etc.Both are superb even if Byron Janis is the better, in my opinion.

Lastly, one word of "caution" - do not listen to the Tchaikovsky Concerto immediately after the Rachmaninoff on this CD.Don't be mistaken; the Tch 1 is also one of the best around, although it is not as good as the Rach 3 in terms of recording, not performance.This Tchaikovsky is also an ideal addition to that by Van Cliburn/Kondrasin/RCA/1958.It is just that immediately after feasting at say a grand Chinese banquet, I can guarantee that you will be too satiated to enjoy a grand Japanese banquet next.The Rach 3 will still be swirling inside you such that the Tch 1 will appear relatively bland and flat!So space things out and slowly savour and enjoy the quite different experiences!

Great, but not the greatest
I'm sorry to contradict David Hurwitz, but Argerich's Rach 3 is NOT "the fastest and physically exciting you will ever hear": this honour goes to Hurwitz's near-namesake Vladimir Horowitz in his 1941 live version with Sir John Barbirolli. In this wild rendition, Horowitz plays the concerto faster than anybody before or since, Rachmaninov and Argerich included.In fact, here Horowitz is faster than Argerich in all of the most virtuosic passages, and much faster in the end climax. Argerich - or anyone else, for that matter - simply can't equal Horowitz's white heat, whiplash kind of technical brilliance and command, his unique power, speed and tonal control.

Absolutely riveting performance of two famous pieces!
This live recording by Argerich of Tchaikovsky's 1st and Rachmaninoff's 3rd is breathtaking!I own at least 10 versions of Tchaikovsky 1st and 4 versions of Rachmaninoff 3.This performance is one of the best.

Argerich plays the Tchaikovsky 1st with such passion and fire; her speeds are on the fast side, yet she does all the running passages with such virtuousity and excitement! The slower 2nd movement is played with much feeling, and Argerich builds up to a tremendous climax during the end of the 3rd movement.The listener is just amazed and awestruck after hearing this performance!This is one of the most exciting live versions of Tchaikovsky 1. I prefer it over Horowitz due to the better sound quality;Argerich's performance is on par with that of Horowitz.

Kirill Kondrashin (Tchaikovsky) and Richard Chailly (Rachmaninoff) can barely keep up with Argerich and it makes for a fascinating listen -- the interplay between artist and the conductor on both pieces.

The Rach 3 does not disappoint either.Argerich also does a great job of building up to a tremendous climax at the end of the 1st movement.The slower passages are very moving and are played with a great sense of tone and finesse.

Actually, I'm more a fan of the Tchaikovsky than the Rachmaninoff 3 but I really enjoyed her re-endition of the Rachmaninoff 3.

All the versions of Tchaikovsky done by Argerich are oustanding (the studio version with Dutoit, and the other 1994 live version with Abbado) and are highly recommended.

Hold your breath while you listen to this recording.It is that good! ... Read more

Asin: B0000041DF
Subjects:  1. Classical    2. Concerto   

Pytor Il'ich Tchaikovsky: Pique Dame
Average Customer Review:
Audio CD (16 November, 1993)
list price: $50.98 -- our price: $50.98
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Editorial Review

The Queen of Spades was the opera that won Tchaikovsky the most popular acclaim in his lifetime, and with good reason. It's a powerfully dramatic story that offered the composer some irresistible opportunities. The Rococo setting encouraged Tchaikovsky to have a lot of fun in writing fake classical period dance and vocal music. But into this light-hearted and elegant atmosphere, the story itself presents the darkest possible picture of pathological obsession--with sex, gambling, money--all those juicy items that great opera seems best able to express. Tchaikovsky certainly rose to the occasion, and so does this excellent performance. With a superb all-Russian cast, it's without question the one to have. --David Hurwitz ... Read more

Reviews (8)

An Excellent Queen of Spades
It is interesting that Pique Dame was first offered to Tchaikovsky's pupil Nikolay Klenovsky byIvan Vsevolozhsky (who was a force in the composition of The Sleeping Beauty).Had it not been for the pupil's vacillation, Pushkin's story may never have been taken up by the composer.Modest Tchaikovsky had written a libretto for Klenovsky and made some changes for his brother, who composed the music in white heat and had completed the project in 5 months.Pique Dame was premiered at the Maryiinsky Theater on December 19, 1890 to great acclaim.The opera made its progress through Europe and within a decade had been performed at every major house.

There are not many recordings of Pique Dame but of them, this one is arguably the best for the energy of the performance and the quality of the singers.The Kirov Orchestra is superb, and they are recorded with great clarity.Valery Gergiev's conducting is outstanding and he produces a well-nuanced recording of Tchaikovsky's melodrama.The singers are well cast: Gregam Grigorian is an excellent Herman, particularly in his aria at the end of act 1 scene 1 when he declares he will get the secret of the three cards. I have had the pleasure of seeing Maria Guleghina singing different roles (most notably a thrilling Tosca) and always look forward to her performances.In this recording, she sings beautifully and her duets with Olga Borodina, who sings the role of Pauline, are particularly memorable for the nice blending of their voices.In the third act, Ms. Guleghina has some problems in scene 2 hitting her notes and her voice is somewhat stressed.I did not find that she has the heavy vibrato noted by another reviewer.Irina Arkhipova makes an excellent Countess and the supporting cast members are excellent.

This is an excellent recording that anyone interested in Russian opera will find of interest.

Good, but contenders please????
Gergiev really does deserve commendation for his invaluable contribution to exposing, what is for me, the greatest operatic form (Russian opera). Here is another good example and the conducting is beautiful. The vice that has hampered Russian opera generally however, is that there are too few recordings. A few artists therefore dominate the scene, sometimes benefitting from the overall excellence of the OTHER participants. I am here referring to Maria Guleghina. To have her in such a major role of Lisa should be described as no more than an "adequate performance," as the unsteady wobble in her voice is off-putting. As I have not heard other recordings of Pique Dame, I am unable to say that the role has been better sung...but I can say that there ARE better voices (e.g. Stefka Evstatieva).

Nevertheless, the recording benefits from a particularly superb performance by Grigoriam, Borodina and the legendary Arhipova....in addition to Gergiev's superb conducting. Gergiev appears not to be given to too many special effects, however (take for example, his reading of Rimsky-Korsakov's "The Tsar's Bride," where Lyubasha's violent death passes in silence). The Countess' ghost scene with Gherman is therefore sung without acoustic enhancement. This is however, a minor complaint. Pique Dame is a stunning composition and this recording has many merits....recommended.

The victorious Kirov company
Opera fans, if you enjoy Russian opera in general and Kirov company in particular, I am certain you see a lot of reviews posted all over by someone named moskvich (Russian for Moscovite) who consistently praises Bolshoi company and finds various faults in Kirov. For the lack of better word, this is baloney. The singers he mentions (Atlantov, Milashkina, Mazurok, et al) have been stars of the Bolshoi in the 70's and have been pretty average even at that time next to Galina Vishnevskaya, for instance. Their rise to fame was largely due to politicking and pushing talented singers our of Bolshoi for "not adhering to Communist Party line". Bolshoi's best conductor ever, Melik-Pashaev was driven to death by such accusations. The claims moskvich makes are completely groundless, basically resorting to saying "A is better than B", with A, naturally, being from Bolshoi. While this rivalry between the theaters ensued for the longest time, the supporters of the Moscow theater like the one in question fail to see that their company needs to have several things to stake their claim. These are:
1.Great Conductor. Bolshoi had several opportunities to get one, but failed. Gergiev's talent is so immense he needs a formidable opponent. Currently there isn't one at Bolshoi.
2.At least Two great sopranos. Kirov has Gorchakova AND Guleghina as two phenomenal dramatic (spinto) sopranos. Plus, Anna Netrebko as a true lyric one. Bolshoi, again, has no one of this caliber.
3.One good tenor. Grigoryan (on this recording) is a wonderful versatile artist. He can sing lyric parts expertly and has enough heft to attempt heavier parts, like the one of Gherman here, or Alvaro in La Forza. Atlantov (at Bolshoi) has several virtues, but there's not subtleness or real feeling in his singing. His legato is rough, and he often produces unattractive sound. Not to mention that his prime was in the 70's.
4.A mezzo, a baritone, and a chorus. Where do we start? Here we have Putilin and Chernov, two very different and incredibly exciting baritones, one Heldenbariton, one Kavalierbariton. Just listen to Putilin in Mazeppa and Chernov in Rigoletto. Olga Borodina is an internationally known all-around star, she can sing Dalila, or Olga, or baroque, and do each of these with charm and finesse. Opera News just ran a special feature on Larissa Diadkova, another great Kirov mezzo. Bolshoi currently has no one of such caliber, just drop by any day.
The list can go on and on. Last but not least, a theater needs to have a good recording label. Philips has done a spectacular job of digitally recording the masterpieces that until recently only have been available as pitiful restorations of Bolshoi's performances on LPs. As Bolshoi failed to draft the talents and enter the world arena with a formidable roster of operas, may they be Russian or western, Gergiev's company forged ahead, and, like it or not, they became The operatic face of Russia. Since we all have ears, we can easily appreciate the numerous virtues of Gergiev's recordings and enjoy the only thing that Bolshoi currently has - the ballet. ... Read more

Asin: B00000415X
Subjects:  1. Classical    2. Opera    3. Opera / Operetta / Oratorio   

Tchaikovsky: Mazeppa
Average Customer Review:
Audio CD (14 April, 1998)
list price: $50.98
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Editorial Review

The conventional wisdom with Tchaikovsky's operas is that there are two great ones (Eugene Onegin and Pique Dame), two good ones (Iolantha and Maid of Orleans) and lots of other sad ones. What a surprise, then, that Mazeppa belongs at the top of the Tchaikovsky opera canon. It begins as a conventional love story between a warrior and a young maiden but turns darker than anything in Italian verismo and more emotionally complicated than most things in Richard Strauss. Though the Deutsche Grammophon recording under Neeme Järvi has a more open acoustic and a starrier cast (including Galina Gorchakova and Sergei Leiferkus), the Kirov outing is more passionately and knowingly conducted by Valery Gergiev, which in some ways makes a stronger case for the opera's viability. The cast tends to be workmanlike and can be somewhat fatiguing, though Nikolai Putilin rises to the challenge of the great title role with an authority that makes up for his lack of tonal luster. --David Patrick Stearns ... Read more

Reviews (2)

An Ignored Opera
I find it hard to understand why Mazeppa is not performed outside of Russia.The only operas of Tchaikovsky that have been embraced are Pique Dame and Eugene Onegin.Mazeppa has a lot going for it: the Girl's Chorus and the energetic Gopka in the first act, the Prison Scene and Finale in the second act and the Battle of Poltava at the start of the third.In addition, there is a lovely duet in the first act between Maria and Andrey, a nice monologue for Mazeppa in the second act, and a duet with Maria and in the third act, the death scene of Andrey.

The story involves the historical figure Mazeppa, the hetman of the Cossacks during the reign of Peter the Great.Maria is the daughter of a nobleman named Kochubey, and has fallen in love with the seventy-year old hetman.She rejects the love of Andrey and goes off to live with Mazeppa. Kochubey discovers that Mazeppa plans to go over to the side of the Swedish King Charles XII. Kochubey informs the Tsar but is disbelieved and handed over to Mazeppa along with Iskra, a friend of Kochubey.Both men are subjected to torture (Act II, Scene I) and are executed at the end of Act II as Maria looks on, having been told by her mother of the treachery of Mazeppa.The Swedes are defeated by the Russians, and Andrey encounters the hetman, who shoots him.Maria appears, driven mad by watching her father's execution. Mazeppa is urged to flee and he leaves her behind.Maria sees Andrey but does not recognize him, taking him for the body of her father and then a child.She sings a lullaby as he dies.

This is a live recording, and there is some stage noise that may be annoying to some people but I found that it adds to the drama.The audience applause is minimal and there is no coughing.The Kirov Orchestra is marvelous, and Valery Gergiev provides a vivid reading of the score.The singers are quite good although at time Irina Loskutova's voice sounds a bit strained. I highly recommend this opera to anyone interested in exploring Russian opera.

Magical
Mazeppa is an opera often overlooked in the light of Eugene Onegin and Pique Dame- but some of Tchaikovsky's best music lies within Mazeppa's score.

The finale of Mazeppa is absolutely one of the most beautiful andtouching in all of opera.The whole score is full of musical fireworks butthey come to a blarring hault in the final pages, making it utterlyastounding.The plot has just boiled over.Everyone Maria loves is eithergone or dead.Andrey (a friend who is in love with her) is lying wounded. Maria, who has gone crazy with despair, first thinks he is her dead fatherthan a child asleep in the grass.Cradling the dying Andrey she softly andbeautifully sings a sleep lullaby as the final notes come to a soft end. It's so beautiful.

The Battle of Poltava is a great opening to ACT III! A bombastic symphonic piece that resembles the timeworn 1812 Overture, butis simply thrilling!Fans of Boris Godounov will recognize music from theCoronation Scene in The Battle of Poltava.No, Tchaikovsky did not stealMoussorgsky's music but rather both composers used 'Slava' a popularRussian folk song.Moussorgsky's is more powerful though- but that battlescene is thriling.

Other favs of mine are Mazeppa's love aira to Maria,and of course all the chorus' and the prision and excecution scenes.

Iprefer this recording to the Deutsche Grammaphon recording.The chorus iswithout a doubt superior in this reading as it is a "Russian"chorus.As well I think this recording has the conducting and orchestralplaying edge.Cast wise, I prefer Mazeppa here and have no preference foreither Maria- they are both wonderful.I just prefer Russian opera to bedone by a Russian conductor, cast, chorus, and company.

This set fits inwonderfully with the other Kirov opera recordings.

GOD BLESS GERGIEV andthe KIROV for bringing us the wonderful Russian operas of Tchaikovsky,Moussorgsky, Prokofiev, and Rimsky-Korsakov....all operas so overlook (ceptfor Boris).KEEP THEM COMING! ... Read more

Asin: B0000069CX
Subjects:  1. Classical    2. Opera    3. Opera / Operetta / Oratorio   

Swan Lake
Average Customer Review:
Audio CD (16 September, 1997)
list price: $17.98 -- our price: $14.99
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Editorial Review

Swan Lake was the first of Tchaikovsky's three great ballets-- works which added a new level of depth and sophistication to what had been apurely superficial art form. Today the music is so well-known and popular thatit's impossible to comprehend the difficulties the composer experienced at earlyperformances. Audiences found the music "too symphonic," and the dancers wereput off by the prominence given to the orchestra which, they felt, distractedballet fans from the action on stage. Of course, all of these supposed "defects"are precisely what we admire about the music today, and this elegant butexciting performance reveals the music in all of its glory. --DavidHurwitz ... Read more

Reviews (12)

...if you're a violinist
...then you MUST make a point of listening to this recording.Silverstein's performances of the black/white swans and the Danse Russe are simply spectacular.If anyone needed a reminder as to why he's possibly the greatest concertmaster in recording history (and high on the list of violinists, as well), here it is.

Yes, This 2 CD Setis edited, slightly, from the 3 LP Set.
No numbers have been deleted. But for DG to have made room for this onto 2 CD's, a few of the numbers had to be edited down. However, no music has really been deleted either. All which has been edited, is of music previously heard. Just repeated sections have been deleted. All in all, only four minutes of music is missing from the original 3 LP set. DG has done a most intelligent job of the editing which they were faced with. In no way does it distract from the enjoyment of this performance. It remains the most exciting complete "Swan Lake" out there. The only complete "Swan Lakes" which are more exciting than this, are the live Ozawa/Boston performances, dating just a week or two before this recording was made by DG; and those live performances are locked in The Boston Symphony Orchestra archives!!

Perfect!
Perfect all around!This score is nicely done, all the music is there, and the musicianship is TOP notch.The violin player, especially, is VERY good.The violin parts that are meant to dazzle REALLY come off that way.
The quality of recording is really good too, albeit possibly too quiet.
I would highly recommend this to anyone who is looking for a complete score of Swan Lake, possibly Tchaikovsky's best work. ... Read more

Asin: B000001GYA
Subjects:  1. Ballet    2. Classical   

Tchaikovsky: Symphony No. 4
Average Customer Review:
Audio CD (14 October, 1997)
list price: $16.98 -- our price: $16.98
(price subject to change: see help)
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Editorial Review

Wow, can this orchestra play! If you want a crushing performance of thisgrandly Romantic symphony, with bellowing brass, thudding drums, and up closeand personal digital sound, then this is just the ticket. The same holds truefor Romeo and Juliet. If there are more physically exciting (but nevervulgar) performances of this music around, then I sure haven't heard them. Hot!--David Hurwitz ... Read more

Reviews (10)

OK, but Muti's is MUCH better
Barenboim leads the CSO to an ok performance of this timeless symphony.However, there are MUCHbetter recordings out there.The best is Riccardo Muti's with the Philadelphia Orchestra.This was recorded at the heighth of Philadelphia's playing where one could argue that they were the BEST orchestra to have been around.One, they have always had the best or one of the best string sections in world.Two, their brass in the mid 80s to early 90s has YET to be beaten.I am not exaggerating at all.Being a trombone player, that trombone section is probably the best group of players that one could put together.It's insane.Plus, the horns will blow you away.Some of you won't believe me but it's true.And on top of that, the trumpet section has one of their best recordings for this Tchaik 4.There are many other brass sections that can play as loud, but none of them can play with the sonority or quality that these guys do, with exception of a few LA Phil records.Everybody says that Chicago had the best brass section of all time, but this CD will definately prove you wrong.There's no principal trumpet player playing way out of balance the whole time and the trombone section of Philly could take Chicago's out to lunch any day.Also, Riccardo Muti is probably one of the best, if not the best, Tchaikovsky interpreter.His Italian romanticism fits so perfectly with Tchiakovsky's emotional music.And on top of THAT, you can get the CD for an extremely cheap price thanks to Seraphim's re-release of many of Muti's records.So, if you want a better orchestra, a better conductor, and a better price, then Muti's recording is the one to get.

A Thrilling Ride Through Tchaikovsky's 4th!
This is the most exciting recording of anything I own.Daniel Barenboim pulls out the stops, and the Chicago Symphony Orchestra's players play like gods.They play as if their life depended on it, but never missing a note - purely wonderful.Barenboim spares nothing in excitment, while also shaping the piece fantastically, in what can now be considered the best digital recording of the piece - if not the best recording period.Its only real competition is Mravinsky's 1960recording (in stereo) with the Leningrad Philharmonic.THe only thing is, this one has even slightly more excitment and panache, which I would suspect is due to the fact that it was recorded live in concert, rather than in the studio as Mravinsky's is.Do not let the fact that it is a live recording deter you at all, everyone is on top form, the sonics are everything you would expect a top-notch studio recording to be, and the coughes are almost non-existant.Everything I've said about the Symphony (other than the comparison with the Mravinsky) applies to the Romeo and Juliet, a wonderful little orchestral gem.It is interesting to note that, while the symphony was recorded live, the Romeo and Juliet was not...Just listen to this disc and you will be persuaded...You won't regret buying this disc.

Great Stuff!
This CD is special because of the great impression the recording quality itself makes as well as that of the orchestra's playing.There's a sense of being right in front of the orchestra, a direct and clear sound that also reveals how spectacular the playing was for this live performance.Barenboim led the CSO in a reading of both depth and excitement.Definitely recommended. ... Read more

Asin: B000000S9B
Subjects:  1. Classical    2. Orchestral    3. Symphonic