The Exclusive Subscription Concert Series - Andris Nelsons
C Major Entertainment
Blu-Ray
$45.99Jun 19, 2026
The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Mahler's unusually expansive five-movement Symphony No. 7 is among the composer's most ambiguous and enigmatic works, often regarded as his most challenging to perform. Andris Nelsons leads the orchestra in a new chapter of their Mahler cycle, reaffirming his stature as "one of the most celebrated conductors of our time" (Salzburger Nachrichten). Under his baton, the Seventh becomes "magic in the Golden Hall. [...] Rarely has one heard this work so finely chiselled, so dynamically balanced. An event." (Kurier). "Andris Nelsons and the Vienna Philharmonic bring total coherence to Mahler's Seventh Symphony." (Seen and Heard International)
The Exclusive Subscription Concert Series - Andris Nelsons
C Major Entertainment
DVD
$32.99Jun 19, 2026
The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Mahler's unusually expansive five-movement Symphony No. 7 is among the composer's most ambiguous and enigmatic works, often regarded as his most challenging to perform. Andris Nelsons leads the orchestra in a new chapter of their Mahler cycle, reaffirming his stature as "one of the most celebrated conductors of our time" (Salzburger Nachrichten). Under his baton, the Seventh becomes "magic in the Golden Hall. [...] Rarely has one heard this work so finely chiselled, so dynamically balanced. An event." (Kurier). "Andris Nelsons and the Vienna Philharmonic bring total coherence to Mahler's Seventh Symphony." (Seen and Heard International)
Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.
Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.
In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"
In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"
Strauss: Four Last Songs / Willis-Sorensen, Pilgrim, Gewandhausorchester Leipzig
Sony Masterworks
CD
$11.98Mar 10, 2023
The second album from the impressive American soprano after her critically acclaimed debut album, "Rachel". Includes Richard Strauss' most renowned song-cycle for soprano plus the final scene from his last opera, 'Capriccio'. Rachel's glistening tone, faultless technique and expressiveness make her the perfect interpreter of Strauss's works and she is joined by fellow "Strauss-aficionados” the Gewandhausorchester Leipzig and conductor Andris Nelsons.
When the ORFEO label was established in Munich forty years ago, surely no one with the music scene back then would have predicted that the record company would develop into a firmly established player on the classical music market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist. This “ORFEO 40th Anniversary” 2-album sampler well reflects these two sides of the label by combining highlight tracks of historical recordings with today’s global stars.
Andris Nelsons, today simultaneously Principal Conductor of the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra, was discovered by Orfeo for the album. Christiane Delank, the long-standing artistic director of the label had taken him on to conduct the Bavarian Radio Symphony Orchestra in the recordings of the two violin concertos by Dmitri Shostakovich with Arabella Steinbacher and realized that in him one of the great conductors of his generation was maturing, a development that took place at breath-taking pace. When he was entrusted with conducting the City of Birmingham Symphony Orchestra, she won him over for the ambitious projects of a complete recording of the symphonies by Tchaikovsky (the first three symphonies were recorded, but no longer released following Nelsons’ departure to Boston) together with symphonic poems and other orchestral works by Richard Strauss and works by Stravinsky and Shostakovich. So, Orfeo had the privilege of documenting on album the Birmingham period, the first major international stage in Andris Nelsons’ career.
Excerpts of reviews from previously released volumes included in this set:
Strauss: Also Sprach Zarathustra; Don Juan; Till Eulenspiegel / Nelsons:
Don Juan has all the sparkle and the flood of testosterone that you might expect, dissolving into a string theme that is radiant with extrovert ambition. This is a reading full of passion and drive. Nelsons refuses to linger where some others do but keeps the adrenaline rushing throughout.
– MusicWeb International
Tchaikovsky: Francesca Da Rimini, Symphony No 4 / Nelsons:
In the last movement of the symphony Nelsons is just as blistering in tempo and febrile excitement as Svetlanov, and I never thought I would hear a living conductor equal that kind of intensity. These are great performances by a great conductor.
– Fanfare
Stravinsky: The Firebird, Symphony Of Psalms / Nelsons
Nelsons' interpretation of The Firebird has much in common with Boulez's New York recording for Sony--hyper-detailed (those three harps really tell), yet never at the expense of excitement. Emphasis on clarity also flatters the Symphony of Psalms, particularly in the central fugue. His fleet tempos come close to Stravinsky's own and project the quick outer movements with plenty of punch. This is a very good performance by any standard, and the sonics are impressively natural. If the coupling suits, then don't hesitate.
Boston Symphony Commissions / Nelsons, Boston Symphony Orchestra
Naxos
CD
$19.99Nov 08, 2019
The Boston Symphony Orchestra has a long tradition of commissioning and performing important new music, and the four works on this album were commissioned and premiered by the orchestra and it's conductor Andris Nelsons during the first years of his tenure. Eric Nathan takes us on a journey through a series of interconnected worlds whereas George Tsontakis marks the 400th anniversary of Shakespeare's death in a series of Sonnets for English horn and orchestra. Timo Andres carries on 'conversations' with composers of the past while Sean Shepherd has been inspired by five giants of artistic modernism.
Wagner: Lohengrin / Nelsons, Bayreuth Festival Orchestra
Opus Arte
CD
$34.99Jun 22, 2018
Lohengrin is staged by the enfant terrible Hans Neuenfels, and offers a thought-provoking production of brilliant visual clarity. The performance with Klaus Florian Vogt in the title role is staggering and impressive. There is beauty and purity in his voice, but in this role in particular, one truly senses something other-worldly, which fits superlatively both with the work and the production. Conductor Andris Nelsons brings out the best in the festival chorus and orchestra. It is a Lohengrin one does not easily forget and puts Bayreuth back in the vanguard of Wagner interpretation. "Great Wagner performances such as this give the sensation of looking down at the world from a sadly omniscient height... Vogt...gave a dreamlike performance... Dasch... was sweetly impassioned throughout. Petra Lang was a properly searing Ortrud... Andris Nelsons... conducted with blazing intensity." (Alex Ross, The New Yorker) ‘‘A magic moment of music theatre.’’ (Handelsblatt) ‘‘Bayreuth's incomparable chorus really deserves a medal for its performance here.’’ (International Record Review) ‘‘All six solo singers are musically excellent and dramatically persuasive, with Petra Lang's excoriating Ortrud and George Zeppenfeld's grave yet warm-toned King Henry particularly memorable...’’ (Gramophone)
Strauss: Also Sprach Zarathustra; Don Juan; Till Eulenspiegel / Nelsons, City of Birmingham Symphony
Orfeo
CD
$20.99May 27, 2014
"Like his mentor Mariss Jansons, Andris Nelsons has developed a special affinity with the music of Richard Strauss, in which his conducting combines a thrilling impulse with an appreciation of the finer points of instrumental detail and evocative atmosphere. In a mammoth work such as Also sprach Zarathustra, Strauss does lay traps for interpreters who maybe have less finely honed instincts of taste, pacing and orchestral texture than Nelsons does, but his vision of this half-hour, Nietzsche-inspired score is of such clarity and integrity as to cast aside the accusations of posturing and garishness that are sometimes levelled against it." - Geoffrey Norris, The Telegraph
DVORÁK Symphony No. 9, “From the New World”1. Heldenlied, Op. 1112 • Andris Nelsons, cond; Bavarian RSO • BR 900116 (64:17) Live: Munich 112/2010; 24/2012
No jaded reaction here to just another decent but unneeded Dvorák Ninth. This may be the most spectacular “From the New World” recording to hit the listings in, well, forever. The first thing to love about it is the recording itself. It’s not an SACD, but it’s speaker-blowing and eardrum-popping dynamic, with timpani rolls that will shiver your timbers, and massed brass and string Fortissimos that will rattle your windows. Elsewhere, there are velvet string murmurings and delicate flute fluttering so sweet as to arrest the singing of birds outside in the trees.
The second thing to love about this performance—if, like me, you believe the symphony is called “From the New World” (as in a letter being sent home), and not “The New World,” for a reason—is that Andris Nelsons doesn’t try to make it sound either American or Czech. Rather, he sees the score for what it is, a mainstream late-Romantic symphony in the Austro-German tradition, exactly contemporaneous with Tchaikovsky’s “Pathétique”—both were written in 1893—and among the last to be completed in the 19th century.
Nelsons’s way with the work is very refreshing; it avoids common performance clichés that have arisen around the piece, like sentimentalizing the Largo and italicizing the alleged Native American melodies. The net effect is a cleansing one, similar to the sometimes astonishing results we witness when the paintings of old Renaissance masters are cleaned and restored. Suddenly the colors are brighter and details are revealed that were long hidden. Similarly, Nelsons’s reading of Dvorák’s Ninth Symphony makes it sound fresh and “new” all over again.
If this magnificent performance and recording of the Ninth were not enough, Nelsons gives us Dvorák’s last and least often recorded tone poem, Heldenlied (Hero’s Song), composed in 1897. Though classified as a tone poem, it’s a tone poem with no specific literary program or narrative. Formally, it’s a symphony contained within a single movement, but having four distinct sections that correspond to the four standard movements of a classical symphony. The work was premiered by Gustav Mahler and the Vienna Philharmonic in 1898.
As stunning as the recording of the Ninth Symphony is, the recording of Heldenlied, taken from another live performance 16 months later, has even more palpable presence. It made my far from inexpensive B&W speakers sound like Transmission Audio’s $2-million Ultimate speaker system, not that I’ve actually ever heard one.
This is one helluva CD. I’m not on the jury, but if I were, I’d give it the orchestral disc-of-all-time award. For a great Dvorák Ninth and a spectacular sonic experience, this is a must-have purchase.
Andris Nelsons has been familiar with the Russian and, more especially, the Soviet musical tradition practically since he began his training as a conductor. After all, he studied in St. Petersburg with Alexander Titov and also with Mariss Jansons. His journey to Shostakovich and the Russian composer’s Seventh Symphony, which he recently conducted to great acclaim at the BBC Proms with the City of Birmingham Symphony Orchestra, is one that makes perfect sense in this context. Shostakovich’s symphonies continue to be at the mercy of commentators eager to find historical and political encoding in them, and yet a work like the Seventh Symphony in C major (“Leningrad”) has a universality for which the term “war symphony” is wholly inadequate.
The almost idyllic opening of the first movement and the disruption of that mood by the sudden irruption of a series of timpani rolls, together with the themes associated with a military attack, remain etched in the memory in spite of the final frenzy bound up with the idea of victory, and the same is true of the emotional highs and lows of the middle movements, in which listeners are torn between subdued trust and chorale-like solemnity in the tradition of some of Shostakovich’s great Russian predecessors, especially Modest Mussorgsky, enabling him to lend his voice to the tormented soul of a nation above and beyond all ideological divisions. It was no doubt passages like these that led to the rapid worldwide dissemination of the work once the microfilmed score had reached the United States after an adventurous journey via the Middle East.
A new chapter in this exciting performance history of the symphony has now been written by the City of Birmingham Symphony Orchestra under its music director Andris Nelsons with a thrilling reading notable for its musical focus and depth and, not least, for its contrasts between rhythmic power and lyrical tenderness. The monumentality of Shostakovich’s Seventh Symphony emerges to particularly moving effect in a performance in which garish primary colours are banished in favour of balance. - Orfeo
Tchaikovsky: Symphony No 5 / Nelsons, City Of Birmingham Symphony Orchestra
Orfeo
CD
$20.99May 28, 2009
"Nowhere does the CD make clear whether these performances were recorded before live concert audiences in Birmingham Symphony Hall on October 16–17, 2008; but, in concert or not, this is one of the more spectacular sounding symphonic recordings to come my way in some time. The dynamic range is awesome, and I’m pretty sure that for the first time I heard details of Tchaikovsky’s scoring, even in the most densely orchestrated passages, that I’ve never heard before.
It’s been such a long time since I last listened to Tchaikovsky’s Hamlet Overture, I’d forgotten what a seething cauldron of a witch’s brew it’s able to stir up. Part Romeo and Juliet and part Francesca da Rimini, the piece grew out of an invitation the composer received to write incidental music for a production of Shakespeare’s play. The project fizzled, but Tchaikovsky decided to put his efforts to good use in a concert overture cum fantasia that, had it been presented as an actual curtain raiser, would probably have upstaged the play it was intended to introduce. I mean, whoever heard of a 19-minute bombast-filled overture? There’s little in the way of musical storytelling or depiction of the play’s characters; and the big, heart-throbbing melody one expects from Tchaikovsky, atypically, never quite materializes. Rather, the work is more of a psychological study in the moods, motivations, and states of mind of the dramatis personae, most of which and for most of the time are angry and highly agitated. The Hamlet Overture makes for a logical discmate in that chronologically it’s exactly contemporaneous with the Fifth Symphony; both works claim 1888 as their date of origin. Again, as with the Symphony, Nelsons turns out a fantastic performance...He whips up the proceedings to quite a frenzied pitch; so, if you like loud and exciting passages to be really loud and exciting, Nelsons and the CBSO will not disappoint."
