The young Russian/American virtuoso, Vassily Primakov, has created an impressive buzz in the classical music world. Of a recent Lincoln Center performance, critic Jeremy Eichler in The New York Times wrote that Primakov "gave a fiery performance of Rachmaninov's Second Piano Concerto, with bold, expressive phrasing and dramatic commitment that brought the audience to its feet." The International Record Review heaped praise on his Beethoven CD (BRIDGE 9251), writing of the "thoughtful performances from a young musician who is more than a virtuoso." Winner of the Young Concert Artists Competition, Primakov combines deeply personal playing, brilliant technical command, and a seductive tonal palette reminiscent of an earlier era of virtuosi. Primakov's new account of both of the Chopin Concertos was recorded in May of 2008 with the Odense Symphony Orchestra directed by British conductor Paul Mann. Bridge Records is pleased to announce that Vassily Primakov has been signed to make a series of new recordings including upcoming recordings of Chopin Mazurkas; a Tchaikovsky disc with the Sonata, Op. 37, and The Seasons, Op. 37A, and a Mozart Concerto disc with the Concerto in B-flat Major, K. 595; and the Concerto in C Minor, K. 491, with the Odense Symphony Orchestra conducted by Scott Yoo. This new Chopin disc presents Primakov's first concerto recordings.

The Orchestra of the Royal Capital City of Krakow, Sinfonietta Cracovia is a high profile ensemble, which is famous for its precision and flexibility of a chamber orchestra also in teh symphonic set. The beginnings of the Sinfonietta Cracovia are closely related to the creation of the ensemble Young Krakow Chamber Players. The Sinfonietta has worked with a number of excellent artists from all over the world, among whom there are, Krzysztof Penderecki, Valery Gergiev, Gidon Kremer and many others. The ensemble is lead by Jurek Dybal, a respected conductor, animator of cultural life, adn musician of the famous Vienna Philharmonic. Dybal captivates European audiences with his dynamic presence on the podium, conducting such orchestras as the Wiener KammerOrchester, the Prague Radio Symphony Orchestra and many others.

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CHOPIN Piano Concerto No. 2. Variations on “Là ci darem la mano.” Andante spianato and Grande Polonaise brillante • Eldar Nebolsin (pn); Antoni Wit, cond; Warsaw Phil O • NAXOS 8.572336 (62:53)

Eldar Nebolsin was born in Uzbekistan in 1974. He eventually went on to study with Dmitri Bashkirov, before garnering international attention after winning the Santander International Piano Competition back in 1992. In addition, he was awarded the Sviatoslav Richter Prize in the International Piano Competition, Moscow, in 2005. He is a name that is new to me, and I’m glad that I had the opportunity to hear a bit of what he’s doing right now. He has the kind of virtuosity that is less apparent than other pianists’, because he always seems to be completely in touch, musically, with what he’s doing—and not for the sake of showing off what he can do. He has a fluid sound, and a good lyrical sense—sometimes losing the rhythmic bite, the quirkiness of the rhythms, but always maintaining a beautiful sound. The concerto’s first movement is perfectly paced to bring out the Maestoso character that is asked for in its tempo marking. But again, sometimes the music loses that aforementioned bite and consequently its momentum. The way Nebolsin handles the delicate filigrees of the concerto’s Larghetto, though, is just one example of his good taste in never over-sentimentalizing this music. The Allegretto vivace that follows is equally well done, having an almost eerie, misterioso quality to it from the very beginning of the movement. The pianist shines especially in these latter two. The Mozart Variations—the piece that Schumann was so impressed with that he called Chopin a genius—has never been hugely popular in this century. Nebolsin does a good job of letting the music flow naturally, while keeping the textures of the piano figuration light and airy—not so easy, considering the difficulty of these etude-like variations. Antoni Wit and the Warsaw Philharmonic provide excellent accompaniment, surging when necessary, supporting at other times, and getting out of the way when the soloist comes to the fore...The variations are splendid, and Nebolsin gets my vote for one of the best available.

FANFARE: Scott Noriega

This is an audio-only (i.e., with no video content) Blu-ray disc playable only on Blu-ray players.

Using the new Polish National Chopin Edition, acclaimed pianist Eldar Nebolsin and Poland’s national orchestra conducted by the renowned Polish conductor Antoni Wit, here present fresh interpretations of Chopin’s great works for piano and orchestra. The Second Piano Concerto was written before the first and completed in 1830, the year in which the composer set out for Vienna and then Paris. Chopin’s Variations on Là ci darem la mano, bear witness to his admiration for Mozart, instilled by his earliest teacher, the Bohemian Wojciech ?ywny. The Grande Polonaise brillante in E flat, Op. 22, was written in Vienna, and later augmented with the introductory Andante spianato.

Sound format: PCM Stereo / DTS-HD Master Audio 5.1

For the first time on CD, this rare recording of Chopin’s piano concerto is one of Grigory Sokolov’s only productions in a concerto role, accompanied by an orchestra. This original Eurodisc session recording with Münchner Philharmoniker has been newly remastered from the original tapes. Grigory Sokolov is regarded as one of the world’s leading pianists, dedicated to his art, and adored by his audience in sold-out concerts. Few pianists of recent years have become quite such a legend in their own lifetime. Sokolov created a huge worldwide fanbase solely by playing concerts, as he refused do studio recordings. The only recordings available are live recording of concerts.

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REVIEW:

An extraordinary document, with Sokolov’s integrity and humanity illuminating every bar.

– Gramophone

This is an audio-only (i.e., with no video content) Blu-ray disc playable only on Blu-ray players.

Nebolsin is the real thing, a genuine virtuoso who can interpret Chopin with imagination and style.

Most long-time admirers of Chopin’s First Piano Concerto are well aware of Artur Rubinstein’s classic 1961 recording, available now on an RCA CD. Other eminently worthy recordings include Argerich, on both DG (1968) and EMI (1999), Ax, on Sony (using a period-instrument piano), and Perahia, also Sony.

Young Uzbek-born, Spain-based pianist Eldar Nebolsin enters the ring. On no count is he ever less than thoroughly compelling in the concerto, from his dramatic and stormy entrance in the first movement to the brilliant but always tasteful virtuosity of his finale. His articulation is clear without sounding brittle, his phrasing elegant and warm, and his technique all-encompassing. Notice how deftly he captures Chopin’s lyrical side in the way he imparts delicate mystery to the first movement’s main theme or how he floats the main theme to the ensuing Romanza in lovely singing tones. In Nebolsin’s hands inner voices often emerge to impart greater impetus to the music: try the coda to his first movement where the left-hand figures - often buried in other performances - convey a sense of agitation and drive as the music hurtles nervously toward the ending. And if he doesn’t quite match the effervescence of Rubinstein’s finale coda, he comes very close.

In the end, Nebolsin makes the decision between him and the others a tough one. However, what tilts the scales in favor of Naxos is the clear and powerful sound and the incisive conducting of Antoni Wit, a conductor who, in an oxymoronic irony, is famous for being unknown. His extraordinary talents were overlooked for years, as critic after critic lobbied in the wilderness on his behalf. Now, owing to their persistence and Wit’s numerous acclaimed recordings on Naxos, he has earned much justly deserved recognition. Wit makes the most of Chopin’s generally bland scoring, often giving it weight and muscle, or pointing up inner detail, or simply letting the music sing where appropriate.

In the accompanying works, Nebolsin is just as compelling: the Fantasia on Polish Airs sounds fresh and vital despite its somewhat less inspired music. Krakowiak comes across with brilliant colors and chipper moods, Nebolsin’s fingers seeming to negotiate the thorniest passages with utter ease. Again, the sound is vivid. The Warsaw Philharmonic play with spirit and accuracy in all works. Notes by Keith Anderson are informative, as usual.

I must point out, as is noted in the heading, that this Blu-ray disc is an audio-only, high-definition production. Also, there is a blurb on the album cover stating that this is the, “First recording to use the new Polish National Chopin Edition.” However, I noticed nothing different in the scores from other performances, and whatever differences there might be are probably negligible. On the whole, this is a splendid release and augurs well for a second DVD from these same forces shortly, presenting the Second Concerto and other Chopin works. In sum, Nebolsin is the real thing, a genuine virtuoso who can interpret Chopin with imagination and style.

-- Robert Cummings, MusicWeb International

Sound format: PCM Stereo / DTS-HD Master Audio 5.1

Chopin’s youthful Piano Concerto No. 1 is dominated by the brilliant piano part that the teenage performer-composer wrote to showcase his extraordinary virtuosity. Its ravishing Romanza (‘reviving in one’s soul beautiful memories’, as the composer described it) is framed by an opening movement rich in dramatic lyricism and a vivacious Rondo. The Fantasia on Polish Airs, Op. 13 and Krakowiak are similarly vehicles for Romantic reverie and bravura which pay tribute to the music of Chopin’s homeland. Eldar Nebolsin’s recording of Liszt’s piano concertos was ranked ‘among the finest’ by Gramophone.

Includes work(s) for pno by Frédéric Chopin. Soloist: Arthur Schoonderwoerd.

In Chopin’s oeuvre there is one genre that is particularly well represented: the mazurka. The vast majority of the 51 he published were written as an homage to and reminder of his homeland, which he never saw again after the Russian occupation of 1830/31. The mazurka is an eastern European folk dance in triple time that originates from the Polish province of Masovia, where Chopin grew up. In many cases, a mazurka comprises various individual sections, the names of which are nearly always derived from a region or ethnic group. One such section is the polonez, which is rhythmically related to the ceremonious polonaise. Quite interestingly, Beethoven named the third movement of his Triple Concerto op. 56 Rondo alla polacca. The mazur has a rhythmic structure underpinned by numerous dotted figures or triplets. The kujawiak is a slow-flowing folk dance in triple metre. The krakowiak is characterised by much syncopation. The oberek is a feisty dance. Chopin wrote in total 13 cycles of mazurkas. Here, they are performed by Chopin expert, pianist Eugene Mursky.

A little less than half of Chopin’s complete surviving Mazurkas make up this 2009 release, ordered not according to opus number but for the purpose of an effective program that can sustain one’s interest for 80 minutes. The Mazurkas hold up under many different interpretive game plans, from Ignaz Friedman’s robust, epic statements to the perfumed intimacy of Maryla Jonas and Guiomar Novaes, not to mention Arthur Rubinstein’s three very different complete Mazurka cycles. Koroliov evokes Arturo Benedetti Michelangeli’s lapidarian finger work, wide dynamic range, and subjective poetry. You hear this in Op. 6 No. 1’s fastidious voicing of the central section’s leaps, although Michelangeli’s monumental left-hand droning fifths in Op. 56 No. 2 never lilted like Koroliov’s do here.

The pianist lends interest to the rather uneventful Op. 24 No. 1 by slightly accenting the dissonances, while his gentle way with the implicitly boisterous Op. 7 No. 1 is offset by striking phrase elongations and cross-rhythmic interplay in the deliciously modal Trio. Similarly, Op. 24 No. 2’s pared down outer sections contrast to the surprisingly rolled, loud A-flat major chords announcing its Trio. In fact, Koroliov is not averse to arpeggiating chords at will, or playing the left hand slightly before the right, dead pianist style, yet he employs these devices wisely. Deft polyphonic control justifies Koroliov’s admittedly pulled-about Op. 24 No. 4 and Op. 56 No. 3, while his mesmerizing legato control in the A minor “Émile Gaillard” Mazurka similarly convinces you that his unorthodox slow tempo is a plausible alternative.

Koroliov’s Chopin Mazurkas aren’t so much dances as distinct and diversified dramas, and he brings off his conceptions without a trace of ambiguity, whether or not you agree with the pianist’s every step. Tacet provides superb engineering and fulsome, high-handed annotations.

-- Jed Distler, ClassicsToday.com

The 24 Preludes and the Sonata in B minor are among the most significant works by Chopin. Despite his poor health, Chopin was able to complete the Preludes during his stay on the island of Mallorca. Chopin lost his father shortly before he began to work on the B minor Sonata and once again, he was very ill. It seems almost incomprehensible that Chopin was able to write rich, dramatic works of this magnitude during periods of intense suffering. Kotaro Fukuma’s concept for this recording was a juxtaposition of two life cycles: the first cycle consists of the Preludes paired with the Berceuse, which appear to symbolize the ascent to heaven; the Contredanse marks the beginning of a new section, of a second cycle, which comes to a triumphant conclusion with the Finale of the B minor Sonata. Born in Tokyo, Kotaro Fukama took his first piano lesson at the age of five. After winning both First Prize and the Chopin Prize at the International Piano Competition in Cleveland, Kotaro Fukuma embarked on an international concert career across the globe. He has performed at major concert venues including Carnegie Hall, Lincoln Center, Wigmore Hall, and many others. He currently resides in Berlin. “A fabulous artist… and a prince among peers.” (The Independent)

Georgijs Osokins gained international attention through his participation at age 19 in the Chopin Competition 2015, where his performances received either superlatives or led to controversy. His playing is of a rare originality, based on a deep musical intuition, a strong sense of rhetoric and immaculate technique. "He has a very rare gift of a true Chopinist... This young musician is exceptionally talented." - Sergei Babayan

Classical Music

REGIONS: All Regions
PICTURE FORMAT: 1080i
LENGTH: 191 Mins
SOUND: 2.0 & 5.0 PCM
SUBTITLES: ENGLISH/FRENCH/GERMAN/SPANISH/ITALIAN (extra features)
NO OF DISCS: 2

Based on the Alexandre Dumas novel that also inspired the stories of Verdi’s La Traviata and Hollywood’s Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeier’s intense and refined choreographic language. Chopin’s ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world.

Marguerite Gautier: Agnès Letestu
Armand Duval: Stéphane Bullion
Monsieur Duval: Michaël Denard
Prudence Duvernoy: Dorothée Gilbert
Manon Lescaut: Delphine Moussin
Des Grieux: José Martinez
Olympia: Eve Grinsztajn
Gaston Rieux: Karl Paquette
Le Duc: Laurent Novis
Nanine: Béatrice Martel
Le Comte de N.: Simon Valastro

The Paris Opera Ballet
Orchestra of The Opera national de Paris
Conductor: Michael Schmidtsdorff
Stage Director: John Neumeier

Recorded live at the Palais Garnier, Paris, on 2nd, 5th and 8th July 2008.

Plus
Illustrated synopsis.
Cast gallery.
Flashback to the Lady of camellias.

Reviews
‘John Neumeier has created a ballet in which emotions go crescendo … Agnes Letestu, the great dramatic heroine, triumphs in this ballet danced to music by Chopin.’ Figaro