Tchaikovsky - Overtures & Fantasies

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Tchaikovsky - Overtures & Fantasies


Gramophone Magazine

Editor's Choice - February 2007

Building a Library

First Choice - May 2010

Catalogue No:




Release date:

8th Jan 2007




71 minutes


CD (download also available)
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Tchaikovsky - Overtures & Fantasies


Francesca da Rimini, Op. 32

Romeo & Juliet - Fantasy Overture

(1880 version)

Waltz from Eugene Onegin, Op. 24

Polonaise (from Eugene Onegin, Op. 24)

1812 Overture, Op. 49

Orchestra e Coro Dell’ Accademia Di Santa Cecilia, Antonio Pappano



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Pyotr Il'yich Tchaikovsky: Francesca da Rimini, Op.32

Francesca da Rimini, Op.32

Pyotr Il'yich Tchaikovsky: Romeo and Juliet - Fantasy Overture

Romeo and Juliet - Fantasy Overture

Pyotr Il'yich Tchaikovsky: Eugene Onegin

Waltz (Act II)


Pyotr Il'yich Tchaikovsky: Ouverture solennelle 1812, Op.49

Ouverture solennelle 1812, Op.49

BBC Music Magazine

October 2009

“A generous Tchaikovsky spectacular in masterly hands”

Gramophone Classical Music Guide


“With chorus added in the 1812 as well as the Waltz from Eugene Onegin, this is an exceptional Tchaikovsky collection, a fine start for Antonio Pappano's recordings with his Italian orchestra.
What is very striking is how refreshing the 1812 is when played with such incisiveness and care for detail, with textures clearly defined. It starts with the chorus singing the opening hymn, expanding thrillingly from an extreme pianissimo to a full-throated fortissimo.
A women's chorus then comes in very effectively, twice over, for one of the folk-themes, and at the end the full chorus sings the Tsar's Hymn amid the usual percussion and bells, though Pappano avoids extraneous effects, leaving everything in the hands of the orchestral instruments. It is equally refreshing to have the Waltz from Eugene Onegin in the full vocal version from the opera, again wonderfully pointed, as is the Polonaise which follows.
What comes out in all the items is the way that Pappano, in his control of flexible rubato, is just as persuasive here as he is in Puccini, demonstrating what links there are between these two supreme melodists. So he builds the big melodies into richly emotional climaxes without any hint of vulgarity, strikingly so in both Francesca da Rimini and Romeo and Juliet. Pappano is impressive in bringing out the fantasy element in Francesca, and in Romeo the high dynamic contrasts add to the impact of the performance. There have been many Tchaikovsky collections like this, but with well balanced sound, outstandingly rich and ripe in the brass section, this is among the finest.”

Gramophone Magazine

“Like the very best music directors, you can’t pigeon-hole Antonio Pappano. He may have made his name with Puccini but he’s got an instinctive feel for structure and for style that makes him good at most things. His Tchaikovsky doesn’t disappoint, full of vigour, of tunefulness”

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