Mikhail Petrenko

Baritone

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Glinka: Ruslan and Lyudmila

Glinka: Ruslan and Lyudmila


Albina Shagimuratova (Lyudmila), Mikhail Petrenko (Ruslan), Yuri Minenko (Ratmir), Almas Svilpa (Farlaf), Alexandrina Pendatchanska (Gorislava), Charles Workman (Finn / Bayan), Elena Zaremba (Naina), Vladimir Ognovenko (Svetosar) & Alexandre Polkovnikov (The Head)

Bolshoi Theatre Orchestra & Chorus, Vladimir Jurowski

Stage direction & scenography: Dmitri Tcherniakov

Costume design Elena Zaytseva

Lighting design: Gleb Filshtinsky

Chorus master: Valery Borisov

Ruslan and Lyudmila, the fable of Mikhail Glinka (from a poem by Pushkin), and a symbolic Russian opera in itself, was an apposite choice to open the 2011-2012 season of the majestic Moscow opera, after its long renovation.

Director Dmitri Tcherniakov transposes Glinka’s opera into the 21st century, exposing the protagonists to contemporary forms of temptations: a ‘harem for Ruslan, and a Thai massage for Lyudmila…

Vladimir Jurowski conducts the Bolshoi Theatre Orchestra and magnificent soloists Albina Shagimuratova, Mikhail Petrenko, Alexandrina Pendatchanska, Charles Workman and Elena Zaremba, in this production acclaimed for its musical quality and its staging.

HD recording: Bolshoi Theatre, Moscow, November 2011

Produced by François Duplat

Directed for TV & video by Andy Sommer

Bonus: Interview with Dmitri Tcherniakov

“Viewers who already know the work will get the most out of this version, yet it never completely loses sight of the opera’s essential spirit.” BBC Music Magazine, December 2016 ****

“Petrenko’s soft bass makes for a warmly sympathetic Ruslan…Shagimuratova copes well with the coloratura of Lyudmila’s teasing wedding feast aria…Charles Workman is a light-voiced, sympathetic Finn and Alex Penda’s dark dramatic soprano suites Gorislava…Jurowski conducts an urgent account of Glinka’s colourful score” Gramophone Magazine, November 2016

DVD Video

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Bel Air Classiques - BAC120

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Strauss, R: Elektra

Strauss, R: Elektra


Evelyn Herlitzius (Elektra), Waltraud Meier (Klytämnestra), Adrianne Pieczonka (Chrysothemis), Mikhail Petrenko (Orest), Tom Randle (Aegisth), Franz Mazura (Der Pfleger des Orest), Bonita Hyman (Erste Magd), Andrea Hill (Zweite Magd), Silvia Hablowetz (Dritte Magd), Marie-Eve Munger (Vierte Magd), Roberta Alexander (Fünfte Magd)

Coro Gulbenkian & Orchestre de Paris, Esa-Pekka Salonen

The last production ever staged by Patrice Chéreau, this 'Elektra' will remain as the most striking events of recent years in Aix-en-Provence.

"This production, with Esa-Pekka Salonen on the podium, the Orchestre de Paris in the pit, an all-star cast and Patrice Chéreau directing, has been hyped so hard that it would be gratifying to be able to enumerate its imperfections. But there are none. Chéreau, Salonen and their cast get everything so appallingly right… Chéreau takes Hofmannsthal’s chilling libretto to the letter, in the most minutely exacting manner, and Salonen does the same with the score, conducting with all the dispassionate clarity of the gore in a Tarantino film. If it were merely gore, it would be bad enough. Far worse, though, both men see every moment of tenderness in text and score in perfect detail.

These murderous family members are not monsters. They are real people, filled with love and yearning, damaged beyond repair.

Evelyn Herlitzius lives and breathes the mammoth title role. She is a wild animal, a dirt-smeared urchin in oversized men’s clothes, her wiry body barely containing the huge, disturbing emotions of her matricidal character. Her jerky, broken dance is one of this production’s many unforgettable moments. The opening night audience leapt to its feet to applaud her.

As her far more feminine sister, Adrianne Pieczonka is a revelation, with a lavishly creamy voice capable of expressing all the emotions that Elektra forbids herself. Waltraud Meier’s Klytämnestra is so dignified as to be almost harmless, a frail figure whose subsequent slaughter seems out of proportion to her errors. The men are strong, led by Mikhail Petrenko as an unnervingly compassionate Orest.

Richard Peduzzi’s sets and Caroline de Vivaise’s costumes set the action somewhere that could be the vestiges of any modern conflict, from the Balkans to Afghanistan, a grey, comfortless world of concrete, fear and oppression. Under Salonen’s merciless direction, the Orchestre de Paris gives the lie to preconceptions about French orchestras and German romanticism, with playing that is transparent, brawny and seductive all at once.

The whole is so horribly compelling that it is hard to remember to breathe, and even harder not to join Elektra in eager passion for the closing bloodbath. Chéreau does not even bother with blood; in the end, Orest strangles his mother. It is vile, and utterly wonderful.

This production goes on to La Scala, Milan, the Metropolitan Opera in New York, the Finnish National Opera, the Liceu in Barcelona and the Staatsoper Berlin. It has all the strengths of Chéreau’s legendary staging of Janácek’s 'From the House of the Dead'. Its shelf life will be long, and it will be talked about for even longer. A triumph for Aix." *****Shirley Apthorp, Financial Times

“Chéreau himself operates with deadly restraint...There’s nothing utilitarian about the cast, though, least of all its Elektra. Precise in pitch, unfailingly intense and charismatic, the German soprano Evelyn Herlitzius conquers every challenge...The rest of Elektra’s cracked family receive equally striking portraits.” The Times, 30th May 2014 ****

“I found Herlitzius powerful and interesting, but never beautiful...the lyrical beauty of Adrianne Pieczonka’s Chrysothemis is a welcome contrast...Meier brings a star touch to Klytämnestra...She holds you spellbound for the half hour in which she is on stage...Petrenko is a marvellous Orestes; rich, authoritative, boomingly resonant and always musically involving.” MusicWeb International, 13th June 2014

“this is a remarkably absorbing Elektra, energised not just by Evelyn Herlitzius’ gritty anti-heroine and Waltraud Meier’s unclichéd Clytemnestra, but by Chéreau’s decision to show the two revenge-murders onstage. The DVD includes a charming and revealing 23-minute interview with the director” Financial Times, 21st June 2014 ****

“[Herlitzius] has made this opera her own, and watching her sensationally acted and searingly sung performance from Aix, it is easy to understand why. Her physical commitment to her role, and her unstinting, occasionally wild, vocalism are astounding...Salonen gets sensuous and dramatic playing from the OdP. A classic.” Sunday Times, 27th June 2014

“Herlitzius as the vengeful daughter is vocally tireless...Chereau exacts similarity intense, realistic performance from Adrianne Pieczonka as Chrysothemis...Other crucial elements in a total theatrical experience are Richard Peduzzi's colossal set and Esa-Pekka Salonen's conducting, which is visceral throughout. This is one of the truly indispensable opera DVDs.” BBC Music Magazine, September 2014 *****

“It is Herlitzius's performance and the finely detailed, well-balanced conducting of Esa-Pekka Salonen...that are the main selling points...One of Chereau's innovations is to have Klytemnestra played relatively straight, rather than as the neurosis-addled monster she can be...Pieczonka is a terrific Chrysothemis, tearing into the role with luscious tone that thins only occasionally.” Gramophone Magazine, September 2014

“Chéreau has deliberately rejected the expressionist clichés usually associated with productions of Elektra for something more thoughtful and dramatically cohesive…Herlitzius is exceptional in the title role, delivering top notes that are searing and incisive, while Adrianne Pieczonka gives a riveting performance as Chrysothemis…Strauss’s compelling score is given a wonderfully lyrical reading.” Opera Now, September 2014

“Herlitzius’s vocal stamina is striking. Her voice is full and strong, rings out powerfully and even cuts through the loud orchestra … Pieczonka is splendidly focused of voice, cutting through the orchestral sound with a genuine shine on the tone … Salonen energises the orchestra … a winning one [performance] altogether.” International Record Review, October 2014

“[Chereau's] Elektra shares many of the radical, unsparing qualities that distinguish his finest work. Typically, he dispenses with cliche, and in place of the snarling, expressionist approach found in most stagings, offers a humane modern-dress drama...Salonen conducts the Orchestre de Paris with a grave eloquence that places as much emphasis on the score’s moments of lyrical repose as on passages of churning anguish.” The Guardian, 11th December 2014 ****

GGramophone Awards 2015

Winner - Opera

BBC Music Magazine

DVD/Blu-ray Choice - September 2014

Blu-ray Disc

Region: all

Bel Air Classiques - BAC410

(Blu-ray)

$34.75

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Strauss, R: Elektra

Strauss, R: Elektra


Evelyn Herlitzius (Elektra), Waltraud Meier (Klytämnestra), Adrianne Pieczonka (Chrysothemis), Mikhail Petrenko (Orest), Tom Randle (Aegisth), Franz Mazura (Der Pfleger des Orest), Bonita Hyman (Erste Magd), Andrea Hill (Zweite Magd), Silvia Hablowetz (Dritte Magd), Marie-Eve Munger (Vierte Magd), Roberta Alexander (Fünfte Magd)

Coro Gulbenkian & Orchestre de Paris, Esa-Pekka Salonen

The last production ever staged by Patrice Chéreau, this 'Elektra' will remain as the most striking events of recent years in Aix-en-Provence.

"This production, with Esa-Pekka Salonen on the podium, the Orchestre de Paris in the pit, an all-star cast and Patrice Chéreau directing, has been hyped so hard that it would be gratifying to be able to enumerate its imperfections. But there are none. Chéreau, Salonen and their cast get everything so appallingly right… Chéreau takes Hofmannsthal’s chilling libretto to the letter, in the most minutely exacting manner, and Salonen does the same with the score, conducting with all the dispassionate clarity of the gore in a Tarantino film. If it were merely gore, it would be bad enough. Far worse, though, both men see every moment of tenderness in text and score in perfect detail.

These murderous family members are not monsters. They are real people, filled with love and yearning, damaged beyond repair.

Evelyn Herlitzius lives and breathes the mammoth title role. She is a wild animal, a dirt-smeared urchin in oversized men’s clothes, her wiry body barely containing the huge, disturbing emotions of her matricidal character. Her jerky, broken dance is one of this production’s many unforgettable moments. The opening night audience leapt to its feet to applaud her.

As her far more feminine sister, Adrianne Pieczonka is a revelation, with a lavishly creamy voice capable of expressing all the emotions that Elektra forbids herself. Waltraud Meier’s Klytämnestra is so dignified as to be almost harmless, a frail figure whose subsequent slaughter seems out of proportion to her errors. The men are strong, led by Mikhail Petrenko as an unnervingly compassionate Orest.

Richard Peduzzi’s sets and Caroline de Vivaise’s costumes set the action somewhere that could be the vestiges of any modern conflict, from the Balkans to Afghanistan, a grey, comfortless world of concrete, fear and oppression. Under Salonen’s merciless direction, the Orchestre de Paris gives the lie to preconceptions about French orchestras and German romanticism, with playing that is transparent, brawny and seductive all at once.

The whole is so horribly compelling that it is hard to remember to breathe, and even harder not to join Elektra in eager passion for the closing bloodbath. Chéreau does not even bother with blood; in the end, Orest strangles his mother. It is vile, and utterly wonderful.

This production goes on to La Scala, Milan, the Metropolitan Opera in New York, the Finnish National Opera, the Liceu in Barcelona and the Staatsoper Berlin. It has all the strengths of Chéreau’s legendary staging of Janácek’s 'From the House of the Dead'. Its shelf life will be long, and it will be talked about for even longer. A triumph for Aix." *****Shirley Apthorp, Financial Times

133 min. (opera 110 min. & bonus 23 min) Bonus: interview with Patrice Chéreau.

Image: 16/9, NTSC, Sound: PCM Stereo, Dolby Digital 5.1

“Chéreau himself operates with deadly restraint...There’s nothing utilitarian about the cast, though, least of all its Elektra. Precise in pitch, unfailingly intense and charismatic, the German soprano Evelyn Herlitzius conquers every challenge...The rest of Elektra’s cracked family receive equally striking portraits.” The Times, 30th May 2014 ****

“I found Herlitzius powerful and interesting, but never beautiful...the lyrical beauty of Adrianne Pieczonka’s Chrysothemis is a welcome contrast...Meier brings a star touch to Klytämnestra...She holds you spellbound for the half hour in which she is on stage...Petrenko is a marvellous Orestes; rich, authoritative, boomingly resonant and always musically involving.” MusicWeb International, 13th June 2014

“this is a remarkably absorbing Elektra, energised not just by Evelyn Herlitzius’ gritty anti-heroine and Waltraud Meier’s unclichéd Clytemnestra, but by Chéreau’s decision to show the two revenge-murders onstage. The DVD includes a charming and revealing 23-minute interview with the director” Financial Times, 21st June 2014 ****

“[Herlitzius] has made this opera her own, and watching her sensationally acted and searingly sung performance from Aix, it is easy to understand why. Her physical commitment to her role, and her unstinting, occasionally wild, vocalism are astounding...Salonen gets sensuous and dramatic playing from the OdP. A classic.” Sunday Times, 27th July 2014

“Herlitzius as the vengeful daughter is vocally tireless...Chereau exacts similarity intense, realistic performance from Adrianne Pieczonka as Chrysothemis...Other crucial elements in a total theatrical experience are Richard Peduzzi's colossal set and Esa-Pekka Salonen's conducting, which is visceral throughout. This is one of the truly indispensable opera DVDs.” BBC Music Magazine, September 2014 *****

“It is Herlitzius's performance and the finely detailed, well-balanced conducting of Esa-Pekka Salonen...that are the main selling points...One of Chereau's innovations is to have Klytemnestra played relatively straight, rather than as the neurosis-addled monster she can be...Pieczonka is a terrific Chrysothemis, tearing into the role with luscious tone that thins only occasionally.” Gramophone Magazine, September 2014

“Chéreau has deliberately rejected the expressionist clichés usually associated with productions of Elektra for something more thoughtful and dramatically cohesive…Herlitzius is exceptional in the title role, delivering top notes that are searing and incisive, while Adrianne Pieczonka gives a riveting performance as Chrysothemis…Strauss’s compelling score is given a wonderfully lyrical reading.” Opera Now, September 2014

“Herlitzius’s vocal stamina is striking. Her voice is full and strong, rings out powerfully and even cuts through the loud orchestra … Pieczonka is splendidly focused of voice, cutting through the orchestral sound with a genuine shine on the tone … Salonen energises the orchestra … a winning one [performance] altogether.” International Record Review, October 2014

“[Chereau's] Elektra shares many of the radical, unsparing qualities that distinguish his finest work. Typically, he dispenses with cliche, and in place of the snarling, expressionist approach found in most stagings, offers a humane modern-dress drama...Salonen conducts the Orchestre de Paris with a grave eloquence that places as much emphasis on the score’s moments of lyrical repose as on passages of churning anguish.” The Guardian, 11th December 2014 ****

GGramophone Awards 2015

Winner - Opera

BBC Music Magazine

Opera Choice - September 2014

DVD Video

Region: 0

Format: NTSC

Bel Air Classiques - BAC110

(DVD Video)

$29.00

In stock - usually despatched within 1 working day.

Wagner: Götterdämmerung

Wagner: Götterdämmerung

Live recording from the Teatro alla Scala, Milan, 2013


Lance Ryan (Siegfried), Iréne Theorin (Brünnhilde), Mikhail Petrenko (Hagen), Johannes Martin Kränzle (Alberich), Gerd Grochowski (Gunther), Waltraud Meier (Waltraute/Zweite Norn), Anna Samuil (Gutrune/Dritte Norn), Margarita Nekrasova (Erste Norn), Aga Mikolaj (Woglinde), Maria Gortsevskaya (Wellgunde), Anna Lapkovskaja (Flosshilde)

Orchestra and Chorus of the Teatro alla Scala, Daniel Barenboim, Guy Cassiers

Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity.

Iréne Theorin, acclaimed worldwide for her portrayal of Wagner’s heroines, stars as Brünnhilde opposite Lance Ryan, who continues his radiant portrayal of the tragic hero Siegfried. The strong cast also includes Mikhail Petrenko as the dark antagonist Hagen and Johannes Martin Kränzle, who once again shines as his father Alberich. Waltraud Meier has a memorable appearance as Brünnhilde’s sister Waltraute.

With this 2013 recording of Götterdämmerung, the musically and visually compelling Scala Ring Cycle by Daniel Barenboim and Guy Cassiers was completed and proved to be one of the highlights of the Richard Wagner bicentenary.

Subtitle Languages: DE (Original Language),

GB, FR, ES, IT, Korean Running Time: 292 mins

Sound Formats: PCM Stereo, DD 5.1 Picture

Format: 16:9

DVD Format: 2 x DVD 9 / NTSC

“The production scores a triumph in the use of light-dark imagery to mirror the archetypal forces at play, underscoring the music rather than overwhelming it with images.” Opera Today

“These DVDs of La Scala performances...are most notable for showcasing this conductor's supreme command of the epic lyricism that goes to the heart of the Wagner style...while Cassiers achieves an uneasy compromise between tradition and innovation, Barenboim provides a masterclass in Wagner interpretation that need fear no comparison with the greatest of his precursors.” Gramophone Magazine, June 2014

GGramophone Awards 2014

Shortlisted - Opera

GGramophone Magazine

DVD of the Month - June 2014

DVD Video

Region: 0

Format: NTSC

Arthaus and Euroarts Sale - up to 60% off

Arthaus Musik Barenboim La Scala Milan Ring Cycle - 101696

(DVD Video - 2 discs)

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Wagner: Das Rheingold

Wagner: Das Rheingold


René Pape (Wotan), Nikolai Putilin (Alberich), Stephan Rügamer (Loge), Ekaterina Gubanova (Fricka), Viktoria Yastrebova (Freia), Zlata Bulycheva (Erda), Andrei Popov (Mime), Evgeny Nikitin (Fafner), Mikhail Petrenko (Fafner), Sergei Semishkur (Froh), Alexei Markov (Donner), Zhanna Dombrovskaya (Woglinde), Irina Vasilieva (Wellgunde), Ekaterina Sergeeva (Flosshilde)

Mariinsky Orchestra, Valéry Gergiev

In September 2013 the Mariinsky label releases the highly anticipated second instalment of Richard Wagner’s Der Ring des Nibelungen conducted by Valery Gergiev. Recorded in the sumptuous acoustic of the Mariinsky Concert Hall, Das Rheingold is led by René Pape in the role of Wotan. Pape is ably supported by an international Wagnerian cast, and ‘Gergiev’s absolute mastery of this orchestra,’ (Wagner News) is in evidence once again in a tremendously dramatic performance. Siegfried and Götterdämmerung will complete the cycle in 2014.

Der Ring des Nibelungen was the pinnacle of Richard Wagner’s long and turbulent career and without question one of the greatest achievements in opera. Wagner wanted to create the perfect synthesis of music and drama and assumed total creative control of the project which was to take him 26 years to complete, with frequent interruptions. He introduced numerous innovations, not least the sheer scale of the project – typically a complete performance will last in excess of 15 hours, spread over four evening. No other opera matches the scale or ambition of the Ring.

The Mariinsky Theatre has close connections with Wagner and his music. The composer conducted at the theatre and was even offered the post of Music Director. It is also believed to be the first place where any of the music from the Ring was performed. Since Valery Gergiev became Music Director of the Mariinsky, Wagner’s music has once again become a core part of the theatre’s repertoire, both in St Petersburg and on tour.

“Gergiev tackles Wagner with the same excitement he brings to all his music-making. With that intensity comes a waywardness, usually concerning tempi...The orchestra is superb. All told this is a characterful and compelling account.” The Observer, 1st September 2013

“[Gergiev] draws plenty of vivid drama and glowing colour from the Mariinsky players, particularly the uniquely silken but powerful brass...Mikhail Petrenko and Evgeny Nikitin [make a] rich-voiced pair of giants, a splendid characterisation...the women...are really impressive. Stephan Rugamer shows how much a truly lyrical Loge can make of his music.” BBC Music Magazine, November 2013 ****

“[Pape's] superbly well-sung performance is far from monotonously dignified...there are no weak links in this cast: Fricka, Loge, Fasolt and Fafner are all as good as any of the recently recorded rivals you might care to name...the uniquely euphoric spirit of The Ring's prelude emerges with irresistable conviction as the compelling drama unfolds.” Gramophone Magazine, November 2013

“[Pape] is a singer in the Wagnerian lyric bass mode rather than the more conventional heroic bass-baritone. Even so, he has no difficulty with the high notes. His pointing of the text often pays dividends..in the casting of the two giants the Mariinsky does not disappoint...Markov is a magnificent Donner, sending out his challenge to the thunder in ringing tones.” MusicWeb International, 18th November 2013

“Gergiev conducts a swift reading in this performance – this Rhine is in full flood...Pape’s Wotan is pretty magisterial...Gubanova is a solid Fricka, sounding younger and less hectoring than many...The Rhinemaidens are forthright, almost cheerful; Ekaterina Sergeeva’s even mezzo is particularly attractive as Flosshilde.” Opera Now ***

Super Audio CD

Format:

Hybrid Multi-channel

Mariinsky - MAR0526

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Rachmaninov: Symphonic Dances & The Bells

Rachmaninov: Symphonic Dances & The Bells


Rachmaninov:

Symphonic Dances, Op. 45

The Bells, Op. 35

Luba Orgonášová (soprano), Dmitro Popov (tenor) & Mikhail Petrenko (bass)

with Rundfunkchor Berlin


EMI Classics releases an exciting new recording of Rachmaninov’s Symphonic Dances and The Bells. These two Rachmaninov masterpieces, performed by one of the world’s most renowned orchestras under their celebrated principal conductor Sir Simon Rattle. This is a rare chance to hear Sir Simon’s interpretations of these great works. Towards the end of his life, the composer himself said of The Bells “I worked on this composition with feverish ardour; and it remains of all my works the one I love the most”. Of the Symphonic Dances, written shortly before his death, he said “I don’t know how it happened, it must have been my last spark”.

Read Presto's complete review of this disc here.

“[The Bells'] vivid palette of orchestral colours suits him and the Berlin Philharmonic, while careful engineering eases the problems of balance...Rattle doesn't always give the music its head in a way that a Russian conductor might, but the performance is carefully calibrated and full of brilliantly focussed detail.” The Guardian, 15th August 2013 ****

“the choral singing [in The Bells] combines agility and heft – the third movement terrifies. Good soloists too – notably bass Mikhail Petrenko. Rattle’s characteristic ear for detail rarely derails the forward momentum...Rattle’s new Symphonic Dances take a while to work their magic...But you’re slowly won over” The Arts Desk, 24th August 2013

“Rattle keeps luxuriating, basking in the long-legged melodies, idling lovingly over phrases, wrapped in a full and warm recording. The more brittle elements in rhythm, gesture and orchestration have a hard time getting heard. This isn’t a problem with the later recording of the companion work, the choral symphony The Bells” The Times, 24th August 2013 ***

“[The Bells] was an astonishing first for the orchestra, which is perhaps why it sounds so fresh-minted here...The Symphonic Dances get sonic luxury from the Berliners. It’s hard to imagine the slow movement’s famous alto-sax solo more hauntingly played.” Sunday Times, 1st September 2013

“Rattle’s account of The Bells is very impressive: he has three excellent soloists and the choral and orchestral contributions are first class...I’m equally taken with his reading of the Symphonic Dances...the Berlin playing is simply fabulous...These are two of Rachmaninov’s greatest works and Simon Rattle has done them proud with this exciting disc.” MusicWeb International, 22nd September 2013

“Lucid detail, refined shaping, polished instrumental solos and a shrewd way with texture and rhythmic ebb and flow contribute to an interpretation as astutely conceived as it is vital in execution.” Gramophone Magazine, October 2013

“this Bells may be unsurpassable...The three soloists are superb, even if Dmytro Popov is a more heroic tenor than usual and Luba Orgonasova plays firm matriarch at the wedding rather than young bride. Mikhail Petrenko's bass is another quality voice, prefaced and mirrored by the most human cor anglais solo I've ever heard....a remarkable achievement.” BBC Music Magazine, November 2013 *****

“I always think Rattle is at his interpretative best when he's conducting music that is full of interesting orchestral colours, and this is certainly the case here...What I like about Rattle's interpretation is the amount of space he allows...this is easily one of my favourite recordings of the year so far.” James Longstaffe, Presto Classical, 26th August 2013

Presto Disc of the Week

26th August 2013

Presto Favourites

Recommended Recording

GGramophone Awards 2014

Shortlisted - Choral

Warner Classics - 9845192

(CD)

$13.00

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Tchaikovsky: Eugene Onegin

Tchaikovsky: Eugene Onegin

Recorded live at De Nederlandse Opera, June & July, 2011


Olga Savova (Madame Larina), Krassimira Stoyanova (Tatjana), Elena Maximova (Olga), Nina Romanova (Filipjevna), Bo Skovhus (Jevgeni Onjegin), Andrej Dunaev (Vladimir Ljenski), Mikhail Petrenko (Vorst Gremin), Peter Arink (Petrovitsj), Roger Smeets (Zaretski), Guy de Mey (Monsieur Triquet) & Richard Prada (Zapevalo)

The Royal Concertgebouw Orchestra, Mariss Jansons (conductor) & Stefan Herheim (stage director)

Described by Tchaikovsky as ‘lyric scenes’, Eugene Onegin receives a spectacular reinterpretation from the Norwegian director Stefan Herheim. His productions create controversy and excitement around Europe, and here he takes Pushkin’s story of illusion, disaffection and frustrated love, and places the protagonists – world-weary Onegin and naïve, passionate Tatyana – in a triple temporal perspective, referencing the theatrical present, the period of the work’s composition, and the pageant of Russia’s history. Mariss Jansons, renowned for his mastery of Tchaikovsky’s symphonies, conducts this performance from Amsterdam’s Muziektheater.

‘Put too much steam into Tchaikovsky’s score and it wilts. Be too shy and retiring, on the other hand, and the tragic momentum evaporates. Jansons sets us on a simmer and gradually turns the heat to boiling. It is magisterially paced, stunningly played and, seemingly effortlessly, Jansons captures every aching nuance. […] Herheim’s innovations are often throbbingly acute (and sometimes wickedly funny).’ The Times

Extra features:

Cast gallery

30-Minute Documentary Film

Running time 151mins

Region Code All regions

Picture format 16:9 Anamorphic

Sound format 2.0LPCM + 5.1(5.0) DTS

Menu languages EN

Subtitles EN/FR/DE/IT/ES

“Forget any sense of intimacy in Tchaikovsky's lyrical scenes in this Eugene Onegin; director Stefan Herheim's approach is one of kaleidoscopic excess...No doubt about it, though, this is musically world-class. Mariss Janson's conducting, very imposing in the big moments...accords with the broad brushstrokes of Herheim's production. But the singers are vocally near ideal. Krassimira Stoyanova's Tatyana is thrillingly secure as well as vulnerable” BBC Music Magazine, May 2012 ***

“Herheim sees the opera as a representation of memories...I suspect that this would be impossible to follow if you didn't know the opera beforehand...it's hard not to get caught up in the sheer chutzpah of the production...[Stoyanova] sails through the Letter Scene with plenty of fire...Star of the evening is the conductor Mariss Jansons. It's clear from the documentary that he loves the work..and he plays it with a rhythmic vitality” International Record Review, May 2012

“Characters not only invade each other's memories but appear in fantasy form...Still, this isn't a Regie-Theater free for all...Herheim directs so many keen moments of character interactions that there's no danger of the opera lapsing into simplistic cliches...what a treat to hear an appealing, soft-grained version of [Skovhus's] voice in the title-role...what linguistic authority and depth of soul [Stoyanova] brings to the character!” Gramophone Magazine, July 2012

Blu-ray Disc

Region: all

Opus Arte - OABD7100D

(Blu-ray)

$34.00

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Beethoven: Human Misery, Human Love

Beethoven: Human Misery, Human Love


Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral'

Erin Wall (soprano), Mihoko Fujimura (mezzo), Simon O’Neill (tenor), Mikhail Petrenko (bass)

with monologues 'Where have you gone my revolutionary friend?' and 'Où es-tu, mon ami révolutionnaire? (written and narrated by Yann Martel)


Sony - 88691919442

(CD)

$9.25

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Wagner - Die Walküre (DVD)

Wagner - Die Walküre (DVD)


Wagner:

Die Walküre

Grand Théâtre, Aix-en-Provence 2006


Robert Gambill (Siegmund), Mikhail Petrenko (Hunding), Willard White (Wotan), Eva-Maria Westbroek (Sieglinde), Eva Johansson (Brünnhilde), Lilli Paasikivi (Fricka), Joanna Porackova (Gerhilde), Elaine McKrill (Ortlinde), Julianne Young (Waltraute), Andrea Baker (Schwertleite), Erika Sunnegårdh (Helmwige), Heike Grötzinger (Siegrune), Eva Vogel (Grimgerde) & Annette Bod (Rossweisse)

Berlin Philharmonic Orchestra, Sir Simon Rattle (conductor) & Stéphane Braunschweig (director)

In a career spanning more than 30 years, Sir Simon Rattle has distinguished himself through his long-term relationships with a number of orchestras, wide-ranging repertoire and innovative educational and audiencebuilding activities. He is currently Chief Conductor and Artistic Director of the Berliner Philharmoniker and Principal Artist with the OAE. Sir Simon first conducted the Berlin Philharmonic in 1987 and appeared regularly with the orchestra in subsequent years.The summer of 2006 saw the first instalment of their Wagner Ring Cycle at the Aix-en-Provence Festival. Sir Simon's most recent appearance at the Proms in Wagner brought forth ecstatic reviews, which bodes well for possible future installments of the Aix /Salzburg Ring on Bel Air Classiques.

"In what is both Mr. Rattle's and Aix's first Ring Cycle, "Die Walküre," the Ring's second chapter, was magically transformed by the enclosed space and lively acoustics of the Grand Théâtre de Provence. But where the new theater makes another significant difference is in Mr. Braunschweig's staging of the opera. Far more than in last year's "Rheingold," even the gods, notably Wotan and his twin children, Siegmund and Sieglinde, can now be felt to experience deeply human emotions. The final curtain brought a standing ovation for both orchestra and singers, with Ms.Westbroek singled out for her "extraordinary power and lyricism," as Jean-Louis Validire, Le Figaro's music critic, put it… The Ring Cycle continues here with "Siegfried" in 2008 and "Götterdammerüng" in 2009 and, as with "Das Rheingold" and "Die Walküre," they will be presented afresh at the Salzburg Easter Festival the following year." The New York Times, July 5, 2007

“Sir Willard White's patriarchal Wotan seems subtler on screen, more smouldering than stiff, and sings richly… Eva Johansson's… makes a fiery, youthful Brünnhilde, more at one with her fellow Valkyries - a fine bunch - than usual. Rattle's conducting… is easy enough to enjoy - fluent, often sweeping - and, of course, beautifully played by the Berliners...” BBC Music Magazine, December 2008 ****

“Wind and brass detail, the accuracy and blending of the chording and that rhythmic precision which is a Rattle speciality lift the final colloquy between Wotan and Brünnhilde to Olympian heights.” Gramophone Magazine, January 2009

DVD Video

Region: 0

Format: NTSC

Bel Air Classiques - BAC034

(DVD Video - 2 discs)

$23.25

In stock - usually despatched within 1 working day.

Gala Mariinsky II

Gala Mariinsky II

Live recording from Mariinsky II in St. Petersburg, May 2, 2013


includes

Bizet:

Les tringles des sistres tintaient (from Carmen)

Gounod:

Le veau d'or est toujours debout (from Faust)

Mozart:

La ci darem la mano (from Don Giovanni)

Prokofiev:

Montagues And Capulets (from Romeo and Juliet)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Verdi:

Nel dì della vittoria … Ambizioso spirto … Vieni t'affretta! … Or tutti sorgete (from Macbeth)

Wagner:

Winterstürme wichen dem Wonnemond (from Die Walküre)


Anna Netrebko, Ekaterina Semenchuk, Olga Borodina, Plácido Domingo, Alexei Markov, Yevgeny Nikitin, Ildar Abdrazakov, René Pape, Mikhail Petrenko, Sergei Semishkur (Opera), Olga Esina, Kim Kimin, Anastasia Kolegova, Yekaterina Kondaurova, Ulyana Lopatkina, Alexander Sergeyev, Vladimir Shklyarov, Oxana Skorik, Diana Vishneva (Principal Dancers and Soloists of the Mariinsky Ballet), Yuri Bashmet (viola), Leonidas Kavakos (violin), Denis Matsuev (piano)

Ballet, Chorus and Orchestra of the Mariinsky Theatre, Valery Gergiev

The Mariinsky Theatre in St. Petersburg is one of the most prestigious opera and ballet venues in the world. Built in 1860 and named in honour of Maria Alexandrovna of Hesse-Darmstadt, wife of Czar Alexander II, it is home to the famous Mariinsky Ballet as well as numerous international stars and ensembles. After the turn of the millennium it was painstakingly restored; and since 2013, St. Petersburg’s Theatre Square has been crowned with the “Mariinsky II” an imposing new arts and performance venue. At its inauguration on May 2, 2013, the highly gifted conductor Valery Gergiev led a veritable who’s who of the classical music world. Featuring gems from opera, orchestral music and ballet, and with modern dance interludes, the programme encompassed the history of the legendary venue from its beginnings to the present day. This broad historical span was symbolically represented by a bridge connecting the Mariinsky Theatre and the Mariinsky II. Arthaus Musik is now offering you a unique opportunity to own an enduring reminder of this unique performance, in which stars including Anna Netrebko, Plácido Domingo, Olga Borodina, Vladimir Shklyarov and René Pape supported by the Mariinsky Theatre chorus, orchestra and ballet celebrate the spirit of this illustrious establishment.

Sound Format: PCM Stereo

Picture Format: 16:9

Blu-ray Disc: 25 GB (Single Layer)

Resolution: 1080i High Definition

Running Time: 120 mins

FSK: 0

Region Code: worldwide

“The ballet excerpts highlight stunning technical control over bravura…the basses generally win the day, Mikhail Petrenko offering a sonorous ‘Ey Ukhnem!’ and Evgeny Nikitin an imposing Boris Godunov…[and] Olga Borodina walks away with the vocal honours for her voluptuous Dalila.” Classical Music

Blu-ray Disc

Region: all

Arthaus and Euroarts Sale - up to 60% off

Arthaus Musik - 108153

(Blu-ray)

Normally: $34.00

Special: $25.50

Usually despatched in 2 - 3 working days.

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