Tchaikovsky: None but the lonely heart, Op. 6 No. 6 (Nyet, tol’ko tot, kto znal / Nur wer die Sehnsucht kennt)

Susan Graham’s eagerly awaited new ONYX CD is a characteristically wide ranging recital which covers a wide spectrum of female emotions as experienced by the virgins, vixens and one of the most frightening of viragos – Lady Macbeth, all captured here in song. In addition to these emotional extremes, there are also lighter issues for a girl to confront, in the Poulenc, and a fruitless pursuit of a boy in the Sondheim to lighten the mood! Susan is one of the great mezzo sopranos of our time, renowned for her operatic performances, and for her recitals. Her earlier CD for ONYX ‘Un frisson francais – A century of French Song' was widely praised.

This is the fourth CD in the “Transfigured” series featuring South African pianist Petronel Malan. She received a Grammy nomination for the first in the series, “Transfigured Bach” (HAEN98424). Here she takes us on a fascinating excursion through the songs of Tchaikovsky, transfigured by several of his distinguished compatriots.

For her first solo CD, Marlis Petersen and her partner Jendrik Springer have devised this programme of 19 lieder, from nearly two centuries of music, centreing on the concept of the 'Eternal Feminine'.

"For this CD we made a selection of songs sung by several female characters from Goethe’s dramas (Stella, Klärchen, Gretchen, Mignon, Philine, Suleika and Helena). Among them are a number of poems which have been set to music countless times in the past two centuries, but are today often known only in a standard setting: if one speaks of 'Gretchen am Spinnrade' or Klärchen’s 'Freudvoll and leidvoll' (to take just two examples), then each of us thinks immediately of the compositions by Franz Schubert and Ludwig van Beethoven respectively. These poems too are on our CD, but set by Richard Wagner and Franz Liszt! By choosing composers who are not usually associated with the lied genre (Ernst Krenek, Charles Ives) or in certain cases probably completely unknown to some listeners (Nikolay Medtner, the pianist Wilhelm Kempff), we wanted to encourage a fresh approach to the poems, one not cluttered by listening traditions. However, to make the selection of songs as varied and balanced as possible, we have also included a few well-known settings like Schubert’s 'Was bedeutet die Bewegung' or Robert Schumann’s 'So laßt mich scheinen'. Furthermore, Manfred Trojahn has contributed a new setting of words portraying Helen of Troy, thus bringing our survey right up to date. Between the individual groups and at the end we have placed a setting of Goethe’s second ‘Wanderer’s Night Song’, 'Über allen Gipfeln ist Ruh'. This is intended to serve as a restingpoint, an emotional ‘reset’; at the same time, it gave us the possibility of presenting a single poem in the interpretation of six different composers: the naive idyll of Hans Sommer and the threatening, doom-laden atmosphere of Nikolay Medtner’s setting are worlds away from each other. It was a thrill and a delight for us to explore this virtually inexhaustible musical treasure-trove in order to come up with an interesting selection of songs that amply repay discovery. We hope you will be as fascinated by this rich diversity as we were!" Marlis Petersen/Jendrik Springer

As one of the leading interpreters of Russian music, and Benjamin Britten’s soprano of choice for some of his works, including the mighty War Requiem, it may come as a surprise to some that Galina Vishnevskaya began her professional career in 1944, singing, of all things, Viennese operettas (in Russian translation!) in the chorus of a travelling company. When the company’s leading soubrette broke her leg, Vishnevskaya graduated to lead roles, but her destiny lay elsewhere. As a girl, she had been fascinated with Tchaikovsky’s Eugene Onegin, and it was in the role of Tatiana that she made her operatic debut, in 1953, at the Bolshoi Theatre. Other roles followed, including Leonore in Fidelio (1954), Cherubino (!) in Le nozze di Figaro (1957), Madama Butterfly (1957) and Aida (1958). It was in the latter role that she made her Metropolitan Opera debut in 1962, and she added Liù (from Puccini’s Turandot) for her La Scala debut in 1964. Western critics were agog over this force of nature who had come, if not from out of nowhere, then at least from behind the Iron Curtain. They spoke of her in the same breath as Maria Callas, Renata Tebaldi, Birgit Nilsson and other giants of the era.

In 1955, she married Russian cellist Mstislav Rostropovich, and together, they braved the Cold War tensions that continued to chill life in the Soviet Union. Rostropovich was, of course, a highly gifted pianist as well and accompanied his wife in recital on the stage and in the recording studio.

In 1961, under the supervision of Mercury Living Presence’s executive producer Wilma Cozart-Fine, they recorded material for soprano and piano key to Vishnevskaya’s life and career. Mussorgsky’s Songs and Dances of Death she called ‘one of the most important projects of [her] career’ and wrote that the performances of this song-cycle made her feel, ‘for the first time, [her] ethnic identity as a Russian singer’.

In addition to three Tchaikovsky songs recorded at these sessions, a further six were added to her discography seven years later, for Decca, these receiving their first release on CD.

Elisabeth Söderström was a born storyteller. She told stories not just in music, but also peppered her recitals on stage with tales and anecdotes. It made her a perfect interpreter for the collection of children’s songs by Mussorgsky, Prokofiev and Gretchaninov she recorded with Vladimir Ashkenazy in 1977–78 which appear on CD2 of this set, the first (LP) issue greeted with enthusiasm by Gramophone reviewer W.S.M. with the words ‘the best record of song to appear in 1979’. It later went on to win the 1979 Gramophone’s Solo Vocal Award. But there was more: a selection of Tchaikovsky songs over two LPs; a substantial survey of the Rachmaninov songs (‘one of the gramophone’s crown jewels’ wrote John Steane in Gramophone) as well as the complete Sibelius songs.

Born in Stockholm on 7 May 1927 to a Russian mother and Swedish father, Söderström she was a talented recitalist, as much in demand in the concert hall as she was in the opera theatre. From 1991–96 she also directed the Drottingholm Festival Opera with much success. The two LPs of Tchaikovsky songs were issued in part by Decca on CD and this is their first complete release in this format. Overshadowed by his orchestral works, they are nonetheless absolute gems, with their piano parts of almost orchestral scope. Ashkenazy’s is, too, the disembodied voice that speaks a few of Pushkin’s lines in the early setting of Zemfira's song.

‘Söderström came to be known internationally in the late 1950s,’ wrote John Steane, ‘and over the next three decades, on until her retirement from singing in the early 1990s she never “blotted her copybook”. She neither sought nor won cheap success.’ Söderström passed away in Stockholm on 20 November 2009, aged 82, from complications from a stroke.

This release marks the launch of an Eloquence series of notable recitals of songs and opera arias by some of the great voices of Decca and Deutsche Grammophon.

This CD explores the Russian tradition of Lieder and traces its endless refinements, helping us to get to know this centerpiece of Russian culture. These Ukrainian performers are twin sisters and together they have performed many lieder recitals. In August of this year they will perform at the Schleswig Holstein Festival. The Lieder are sung in Russian.

The Romantic Piano Concerto series reaches Volume 50. This series has been described as a jewel in Hyperion’s crown and one of the glories of the recording industry. Rarely in the history of recorded music has such a rich seam of undiscovered delights been mined to such consistently dazzling effect. These first fifty volumes include 131 works for piano and orchestra: fifty-nine of these works are premiere recordings and many other featured works have only been recorded once before. The performers include some of the greatest pianists, orchestras and conductors in the world, and each disc in itself is a miracle of virtuosity, scholarship and musicianship.

For Volume 50, a stellar cast has been assembled for a two-disc set that includes, unusually, one of the most famous concertos in the repertoire. Tchaikovsky’s Piano Concerto No 1 has certainly achieved warhorse status—but in the expert hands of Stephen Hough it is a new creature. With the rest of this fascinating two-disc set we are in more usual RPC territory, with music which is actually not widely known. This is a complete survey of Tchaikovsky’s music for piano and orchestra and includes alternative versions of the second movement of Piano Concerto No 2 as well as some delicious extras.

Stephen Hough performed all four concertos at the BBC Proms in 2009 and was described as ‘the epitome of a “golden age” virtuoso with his balletic elegance and dazzling rhythmic reflexes’ (The Independent). Armed with this inestimably important experience, he travelled to Minnesota to record the set live with the Minnesota Orchestra under their acclaimed conductor Osmo Vänskä. The result is a set of unique importance: a winning combination of a pianist at the zenith of his artistry, a world-class orchestra and director, a pre-eminent producer and engineer, repertoire both familiar and unknown, and packaged with even more than the usual care that customers have come to expect from Hyperion.

‘I find this British singer’s identification with Tchaikovsky almost uncanny. Having heard countless performances … in my native Russia, I was totally overcome by Rodgers’ unaffectedness and sincerity … her intonation is faultless, her Russian excellent. A rare treat indeed’ (Vladimir Ashkenazy)