Historical paintings: new albums of classics
Operatic thrillers and self-absorbed chamber works. Historical records and the latest versions of netlens. Beethoven’s Anniversary. This is an interesting climate in the academic recording of the winter-spring of this year.
I will say the banality that has already been imposed in my teeth: quarantine is a time to get acquainted with some “complex” art. Large-scale works, such as books of a thousand pages, operas of three hours, and so on. Personally, I have never really liked the Opera genre, but then I suddenly realized that if you listen carefully to a good production, it is as if it is visualized. In particular, today we will talk about such strong recordings of the Russian Opera school. Let’s start with one of the main Russian Opera composers — and his most complex and ambiguous work.
Pyotr Tchaikovsky “Mazeppa” Pyotr Tchaikovsky. “Mazeppa”. The choir and orchestra of the USSR State Academic Bolshoi Theatre. Conductor-Fuat Mansurovchut whether not the most gloomy Russian Opera at Pyotr Ilyich Tchaikovsky was hard. He several times started to work, but then cooled down, then again admired, several times reworked the libretto, which is based on Pushkin’s “Poltava”. The premiere took place in 1884, and then it did not make a strong impression on the audience.The second birth of the “Ukrainian story” about war, betrayal and blind love was only in the XX century. And now there are an infinite number of productions and recordings. This year, the Bolshoi theatre has released a new production to mark the 180th anniversary of Tchaikovsky’s birth. But before that in the Big “Mazeppa” put as much as 15 years ago, Robert Sturua.This melodic recording is with legendary soloists: Yevgeny Nesterenko (Kochubey), Vladimir Valaitis (Mazepa), Irina Arkhipova (Lyubov), and others.the Conductor is also a famous person, Fuat Mansurov (he was called the “coach of orchestras”), whose recordings for some reason are not very many. So this is-you can say, a rarity. Actually, this particular production was released before, but on vinyl and as far back as the mid-80’s (the exact year of recording for some reason is not specified anywhere).The plot is tragic, heavy and twisted — and the music is congenial. Whimsical, complex, for a vocalist-who should also be an outstanding artist-must be just hard labor. From fioritura to unexpected pauses and recitatives… I Must say that all the soloists sing the entire text just perfectly, every syllable is heard, as in a good classical theater. The recording is also quite high-quality and clean. In General-an Opera performance at home.Melody, Apple Music, Deezer, Yandex.Music
Beethoven: “Archduke” & “Ghost” Piano Trios Renaud Capuçon, Gautier Capuçon, Frank Braleybethoven is 250 years old this year — and releases with his music are already coming in shoals.Supertrio-the Capuson brothers and their long-time friend-partner Frank Brale-recorded two anthology pieces by Beethoven, to which the nicknames “the Ghost” and “the Archduke”have been stuck for centuries.The name “Ghost” was coined because of its “ghostly”, somewhat shaky-unreal second part. Largo here — as if minimalism; in Presto, the instruments race each other and make fun of each other.Trio No. 7 for piano, violin and cello B-dur Op.97 “Archduke” was dedicated to Archduke Rudolf of Austria. It was written in 1810-11, and it turned out to be a landmark in Beethoven’s biography. The fact is that the composer himself participated in the premiere of the Archduke as a pianist — it was April 11, 1814 in Vienna, in the presence of the Kaiser. A year later, Beethoven performed with him again and, according to reviews, played absolutely terrible — deafness progressed. Therefore, Beethoven never performed in public as a musician again.The trio, meanwhile, is very diverse — lively and dynamic. The four parts contrast and vividly “enhance the taste” of each other.Apple Music, Deezer, Yandex.Music
Flowers and fairy tales. Arensky, Rachmaninoff, Taneyev, Medtner, Stravinsky Polina Osetinskaya (piano), Yelena Revich (violin). Flowers and Fairy Talesuboynoe design! It’s been a long time since I’ve seen such exquisite kitsch on classic albums! Polina Osetinskaya-a bright, passionate musician with the right “break” – always comes up with something like this.This is also a conceptual idea. Hence the name: fairy tales and flowers. Accordingly, we have:” Daisies “by Rachmaninoff,” forget-me-Nots “by Anton Arensky (a rare composer, whom ossetinskaya, by the way, recently played in Zaryadye), and” fairy Tale “by Taneyev. Contrast and give a piquant combination. And complete merging of Ossetian with Revich. Surprisingly fine work.Melody, Apple Music, Deezer, Yandex.Music
Nikolai Rimsky-Korsakov “kaschei the Immortal”, Moscow Radio Symphony Orchestra, All Union Radio Choir. Conductor Samuil Samosud Continuing the theme of fairy tales and completing the theme of legendary Opera productions. Kashchey the Immortal is a one-act Opera by Rimsky-Korsakov based on his own libretto. An hour and a bit of a scary musical fairy tale is like a ride on a roller coaster. Dynamics, tension, mysticism, orchestral gloom and maddening interweaving of voices of soloists and chorus… Wow. Gothic. Camp and kitsch (despite the fact that these are terms from the XX century).It was recorded as early as 1949, but it was perfectly restored. The performers of the main roles: the outstanding Pavel Pontryagin, Pavel Lisitsian (the first Soviet singer to perform at the Metropolitan Opera), Natalia Rozhdestvenskaya (the mother of conductor Gennady Rozhdestvensky), and others Do not just sing, but live their roles with boundless tension. The conductor is the outstanding Samuel Samosud. And the result-true, as in a fairy tale — the further, the more terrible.