The Twelfth is not Shostakovich's best symphony, but it's not as bad as its detractors would have us believe. The first two movements in particular are effectively structured and, respectively, cinematically exciting and quite atmospheric. The finale, especially its coda, is so telling an example of Socialist Realist triumph that it can only be accepted as a parody; and played without apology, as here, it works very well. Indeed, Vasily Petrenko leads a first movement that beats just about everyone in terms of sheer excitement, and the same holds true of the transitional third movement, "Aurora". As for that problematic finale, it has an appealing lightness (before the coda) that avoids any impression of facile note-spinning. If you don't like this symphony, give this performance a shot. It may change your mind.

The Sixth is far less troublesome, but Petrenko's vision is no less probing. At nearly 20 minutes the first movement is very slow, but wholly gripping. Petrenko takes the scherzo dazzlingly fast, but paces the finale moderately to give it the necessary weight (without sacrificing the music's irony and wit). Through it all the Royal Liverpool Philharmonic plays splendidly, and is excellently recorded. This Shostakovich series is shaping up as one of the best, make no mistake.

--David Hurwitz, ClassicsToday.com

This may not be the most harrowing version of the Eighth, but of its type it's unquestionably a great performance. Often this symphony consists of hair-raising climaxes interspersed between acres of nothingness. Not here. This symphony also is one of Shostakovich's most formally masterly and imaginative, and this performance reminds us in the most compelling way. Petrenko's flowing tempos in the first movement and passacaglia keep the music moving, not lurching, forward at all times. The 25 minutes of the first movement seem to pass by in half that time. Its opening threnody in particular has even more expressive power than usual for being phrased in long melodic arcs that never turn static.

After an aptly gawky scherzo, the toccata is as brilliant and menacing as any (with a dashingly militant central section), but it's the finale that really sets the seal on this performance. The Eighth always is a tough piece to project convincingly, but Petrenko is at his absolute best here, pacing the music perfectly and timing the climax in such a way that (for once) it doesn't sound like a less impressive recapitulation of the first movement--and this isn't because its previous occurrence is underplayed in any way. Excellent playing from all departments of the orchestra plus vividly natural engineering complete what is easily the best installment of this ongoing cycle to date.

--David Hurwitz, ClassicsToday.com

“Petrenko and the RLPO have achieved a triumph. The orchestral playing is ripe, detailed, lithe, concentrated and intense.” – The Telegraph on Symphony No. 10

“The final instalment of Petrenko’s remarkable Liverpool Shostakovich cycle is a world-class achievement.” – The Sunday Times on Symphony No. 13

“This is a model of clarity… yet another Petrenko performance to join the greats.” – BBC Music Magazine on Symphony No. 8

Featuring the Royal Liverpool Philharmonic orchestra and Choir conducted by Vasily Petrenko
Additional featured choirs:
The Huddersfield Choral Society; Royal Liverpool Philharmonic Choir, male section.
Vocal soloists: Gal James, soprano; Alexander Vinogradov, bass.

Violinist Alexandra Tirsu presents her debut album comprising concertos by Dmitri Shostakovich and Paul Hindemith. Shostakovich's music has resonated with her since childhood, it's atmosphere reflecting the war stories she grew up with. Violin Concerto No. 1 unfolds like a psychological journey-from a shadowy opening to a fierce scherzo, an emotionally charged passacaglia, and a wildly ironic finale. Hindemith's rarely performed Violin Concerto, which Alexandra first explored at the ARD Competition in Munich, reveals a different voice: clear, structured, and quietly expressive. Recorded with the Royal Philharmonic Orchestra under the baton of Vasily Petrenko, this album captures a moment of depth, identity, and emotional connection through two powerful 20th-century works.