Piotr Ilyich Tchaikovsky

“There's no denying that Russian orchestras bring a special intensity to Tchaikovsky, and to this Symphony in particular. But, in the past, we have had to contend with lethal, vibrato-laden brass and variable Soviet engineering. Not any more.
Pianist Mikhail Pletnev formed this orchestra in 1990 from the front ranks of the major Soviet orchestras, and the result here is now regarded as a classic. The brass still retain their penetrating power, and an extraordinary richness and solemnity before the Symphony's coda; the woodwind make a very melancholy choir; and the strings possess not only the agility to cope with Pletnev's aptly death-defying speed for the third movement march, but beauty of tone for Tchaikovsky's yearning cantabiles. Pletnev exerts the same control over his players as he does over his fingers, to superb effect. The dynamic range is huge and comfortably reproduced with clarity, natural perspectives, a sense of instruments playing in a believable acoustic space, and a necessarily higher volume setting than usual.
Marche slave's final blaze of triumph, in the circumstances, seems apt.
Pletnev finds colours and depths in The Seasons that few others have found even intermittently.
Schumann is revealed as a major influence, not only on the outward features of the style but on the whole expressive mood and manner. And as a display of pianism the whole set is outstanding, all the more so because his brilliance isn't purely egoistic. Even when he does something unmarked – like attaching the hunting fanfares of 'September' to the final unison of 'August' – he's so persuasive that you could believe that this is somehow inherent in the material. This is all exceptional playing, and the recording is ideally attuned to all its moods and colours.” Gramophone Classical Music Guide, 2010

“Gloriously resonant and supported by luxuriant string sound” Penguin Guide

“There are major problems with all the current sets of The Queen of Spades, but Valery Gergiev, one of the outstanding Tchaikovskians of the day, here coaxes from a thoroughly Western-sounding Kirov Theatre Orchestra what's surely the most refined account of the score yet recorded, and one that's never lacking energy or full-blooded attack. His isn't so much a compromise approach as one which stresses fatalism and underlying sadness. The recording was made in the Kirov Theatre itself, and there's admittedly some constriction to the orchestral sound picture; but for many the atmosphere of a real stage-venue will be a plus, and the all-important balance between voices and orchestra is just right. If the spine still fails to tingle as often as it should, that's mainly a reflection of the respectable but unexciting singing.” Gramophone Classical Music Guide, 2010

“The very opening, refined and purposeful, sets the pattern, with Gergiev controlling this episodic work with fine concern for atmosphere and dramatic impact...Gergiev's chosen team offers characterful Slavonic voices that are yet well focused and unstrained” Penguin Guide, 2010 edition ****

“There have been a number of outstanding recordings of the Dvorák Concerto since this DG record was made, but none to match it for the warmth of lyrical feeling, the sheer strength of personality of the cello playing and the distinction of the partnership between Karajan and Rostropovich. Any moments of romantic licence from the latter, who's obviously deeply in love with the music, are set against Karajan's overall grip on the proceedings. The orchestral playing is superb.
You've only to listen to the beautiful introduction of the secondary theme of the first movement by the principal horn to realise that the BPO is going to match its illustrious soloist in eloquence, while Rostropovich's many moments of poetic introspection never for a moment interfere with the sense of a spontaneous forward flow. The recording is as near perfect as any made by DG in that vintage analogue era. It gives the cello a highly realistic presence, and if the passionate fortissimo violins lose just a fraction in fullness, and there seems to be, comparably, just a slight loss of resonance in the bass, the sound picture has an impressively clear and vivid focus.
In the coupled Tchaikovsky Rococo Variations, Rostropovich uses the published score rather than the original version. However, he plays with such masterly Russian fervour and elegance that any criticism is disarmed. The music itself continually demonstrates Tchaikovsky's astonishing lyrical fecundity, as one tune leads to another, all growing organically from the charming 'rococo' theme. The recording is marvellously refined.
The description 'legendary' isn't a whit too strong for a disc of this calibre.” Gramophone Classical Music Guide, 2010

“two great musicians performing with complete sympathy for each other: Rostropovich on top form and Karajan an attentive partner” Gramophone Magazine (James Jolly)

“The intensity of lyrical feeling and the spontaneity of the partnership between Karajan and Rostropovich ensures the position of their DG disc at the top of the list of recommendations.” Penguin Guide, 2011 edition