TCHAIKOVSKY Symphonies: No. 2, “Little Russian”; No. 3, “Polish” • Christoph Poppen, cond; German RPO • OEHMS OC 762 (77:46) Live: Saarbrücken 6/27/2010, 6/1/2009


The Oehms label seems to be overdosing on Tchaikovsky symphonies, having two complete series in progress, one with the veteran Russian conductor Dmitry Kitaenko and the other with Christoph Poppen. I had high praise for Kitaenko’s “Pathétique” in Fanfare 35:1, but I haven’t heard any of the prior releases in Poppen’s series—in fact, I haven’t heard any recordings by Poppen up to now. Here he tackles two of Tchaikovsky’s earlier and less celebrated symphonies, and although they may be lesser Tchaikovsky, they are still fine works, much superior in melodic inspiration and structural coherence, for example, to the “Ocean” Symphony of their composer’s mentor Anton Rubinstein, reviewed elsewhere in this issue.


Tchaikovsky composed the original version of his Symphony No. 2 in 1872. The revised (and much improved) version, which is what we always hear today except in Geoffrey Simon’s Chandos recording of the original, was completed in 1878. The work acquired the designation “Little Russian” by virtue of its use of several Ukrainian folk melodies, Little Russia being a commonly used term for Ukraine when it was part of the Russian Empire. The Third Symphony arrived between these dates, in 1875. The subtitle “Polish,” which was not applied by the composer, derives from the marking Tempo di polacca in the fifth and final movement, but since the second movement, a waltz, is marked Alla tedesca (“in the German manner”), this work could with equal accuracy be labeled the “German.”


Poppen leads a very good performance of the “Little Russian” Symphony, close in quality to the best, among which I would include Claudio Abbado’s recording with the Chicago Symphony (Sony), Mstislav Rostropovich’s rendition with the London Philharmonic (EMI), and Carlo Maria Giulini’s venerable recording with the Philharmonia Orchestra (EMI). Although predictably lacking the tonal weight and richness of the awesome Chicago band, the German Radio Philharmonic is a fine ensemble and plays with poise and precision, producing a clear, open texture with prominent winds. The strings seem a bit astringent, at least as recorded here. Winds and brass create a more consistently positive impression. In the “Little Russian,” the opening horn and bassoon solos are eloquently rendered, and the later exposed horn passages are also handled impressively. More eloquent and characterful wind playing can be heard in the second movement. Poppen’s tempos for this work are well chosen, generally on the quick side. He does not vary the tempo much, and is comparatively restrained in his use of vertical stresses, emphasizing instead forward momentum and continuity of line. The Scherzo is especially propulsive, and I like the way energy builds toward its peaks. The gong stroke in the final movement is comparatively subdued in volume but prolonged in duration, an effect I find more tasteful than in some performances. With timings similar to Abbado’s, Poppen offers a lighter, more balletic rendition, in contrast to the more massive and aggressive approach of both Abbado and Rostropovich. Giulini is the most urgent and forceful of all, almost violent in the finale.


After a thoroughly creditable interpretation of the “Little Russian,” Poppen delivers an outstanding one of the elusive “Polish” Symphony, a work surprisingly difficult to bring off in performance. I find Rostropovich, for example, less effective here. His weighty, muscular style seems unsuited to the work, resulting in a rather earthbound interpretation. I was also disappointed by Valery Gergiev’s performance with the Mariinsky Orchestra at Carnegie Hall last autumn. Loren Maazel (Decca) draws a rather thick sonority from the 1960s Vienna Philharmonic and seems more dutiful than committed. Herbert von Karajan (DG) achieves only mixed results, his recording being notable mainly for an ethereal, ghostly Scherzo. Abbado (Sony) is better, but still somewhat disappointing. In the outer movements, the dark, string-dominated sonority he draws from his Chicago players is more heavyweight than is desirable here and lacks the needed transparency. Much of the third movement is taken too slowly and thus deprived of the eloquence and exaltation it can possess.


Poppen’s fleet, lithe, graceful treatment, on the other hand, is thoroughly persuasive. His tempo choices are unerring, and the transparent texture, prominent winds, and lively, committed, articulate playing of his orchestra are very satisfying. The first movement is urgent and energetic, building convincingly to exciting climaxes. The second-movement waltz has an appealing lilt and flow, while the third is appropriately graceful and elegiac, its lovely middle section eloquently shaped. The Scherzo is satisfyingly light and dance-like, while the finale is propulsive and exuberant, once again building at the end to genuine excitement rather than bombast. In Poppen’s hands, the “Polish” Symphony, often dismissed as Tchaikovsky’s weakest, emerges as a thoroughly convincing work. I haven’t heard all the recordings of this symphony, but the only one I know that matches Poppen’s in quality is that of Riccardo Muti (EMI), who secures precise and wonderfully refined playing from the Philharmonia Orchestra in a rendition that is highly charged without being overdriven.


The sound of the Oehms release is vivid, natural, clear, and free from harshness but a bit light in the bass, or perhaps that is a characteristic of the orchestra. This disc clearly surpasses the older recordings of Rostropovich, Muti, and especially Giulini in sound quality, but Abbado’s recording of the “Little Russian” holds its own.


I recommend this release enthusiastically as a coupling of these two symphonies and as an alternative or supplement to any of the other recommended versions mentioned above.


FANFARE: Daniel Morrison

TCHAIKOVSKY: Symphonies Nos. 2 and 4

TCHAIKOVSKY: Symphony No. 4 / Romeo and Juliet

Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.

Region: All



TCHAIKOVSKY Swan Lake • Vladimir Fedoseyev, cond; Polina Semionova ( Odette/Odile ); Stanislav Jermakov ( Prince Siegfried ); Arsen Mehrabyan ( Rothbart ); Karin Pellmont ( Queen ); Zurich Op O • BELAIR 455 (Blu-ray: 130:00) Live: Zurich 10/2009


Choreographer Heinz Spoerli refers to his Zurich Swan Lake as a “decidedly contemporary production … a Swan Lake for today.” He turns Swan Lake into a conflation of classical mythology and modernist psychodrama. In doing so, he makes Prince Siegfried the emotional focus of the ballet as a tortured, romantic dreamer. Though Spoerli is clearly an advocate of the choreographic techniques of classical ballet, the stage sets are decidedly minimalist. In act I, the courtyard is a bare stage surrounded by stark, angular walls. In the white swan scene, the walls remain with a vague image of the lake (or are they clouds?) projected in the background. Spoerli uses lighting to change and concentrate the mood. Thus, the fiery reds at the end of act I (as a wimpy Siegfried interacts with the animated Rothbart) yield to the customary blues and whites of the swan scene. For the act III ballroom scene, the only props are a group of chairs occupied by men and women sitting motionless in tight-fitting uniforms. This sharply contrasts with the dazzling Polina Semionova as she seduces and dominates Siegfried. The ending is ambiguous. Rothbart is finally pushed aside by Siegfried and remains alone on stage as Odette and Siegfried enter a massive column of water bubbles rear stage. Spoerli states (in the program notes): “an ending which I understand in a many faceted sense as a deliverance. Does this mean that the lovers are saved? Is the spell’s power broken? Are there other kinds of salvation and deliverance? Perhaps even by death and transfiguration?” It’s your call.


The Bolshoi-trained Semionova (Odette/Odile) is tall, almost unbelievably slender (do these dancers ever eat a meal?), and technically just about perfect without resembling an icy robot like Ulyana Lopatkina in the Mariinsky Theatre Swan Lake conducted by Valery Gergiev ( Fanfare 32:5). She is an accomplished actress who combines technical perfection with an almost otherworldly vulnerability as Odette and sizzling sexuality as Odile. Stanislav Jermakov projects a handsome, conflicted, and deferential Prince Siegfried. He is an excellent partner for Semionova. In fact, it is a major accomplishment that he can hold his own with her. Jermakov’s act III variation is explosive. Arsen Mehrabyan is an effective villain, slithering around the stage as the omnipresent Rothbart. Vladimir Fedoseyev tends toward slow tempos in the lyrical music, but he provides ample contrast with the faster dances. This is by far the most nuanced version of Swan Lake that I have heard on Blu-ray, especially when compared to the bludgeon-like Gergiev (Decca) and the bland Valeriy Ovsyanikov (Opus Arte). The Zurich Opera Orchestra yields nothing to the orchestras of the Mariinsky Theatre and the Royal Opera House. The Zurich corps de ballet does not have the precision of the Mariinsky Theatre dancers, but they are more than adequate.


Spoerli’s intense and unique personal vision of Swan Lake encourages extreme close-ups that are tastefully and for the most part seamlessly managed in conjunction with the middle and full stage shots. Blu-ray’s visuals and surround sound further enhance the dramatic impact of the lighting and orchestra.


In conclusion, Semionova, Jermakov, Fedoseyev, and the Zurich Opera Orchestra are all hard to beat individually and as an ensemble. Traditionalists may not be entirely happy with Spoerli’s Swan Lake , but in the hands of these performers, it works very well. I would also like to see Semionova et al. in a more traditional production. Highly recommended.


FANFARE: Arthur Lintgen

In 2005 it was over 30 years since the Zurich Opera House had seen a performance of probably the world’s best-loved ballet, Tchaikovsky’s Swan Lake. The Zurich Ballet, which has become one of the world’s leading dance ensembles under Heinz Spoerli’s direction, raised this famed work from its slumber with a dream team to tackle this classic anew. Zurich Ballet Director and choreographer Spoerli has long been confirmed as a master storyteller and an imaginative renewer of the genre: with the support of set designer Erich Wonder and costumier Florence von Gerkan he has devised a new and contemporary version of this classic dance tale that has been eagerly awaited by ballet enthusiasts all over the world, in this his third production of Swan Lake. Top Russian conductor Vladimir Fedoseyev ensures an evening of musical excellence, too.

Region: All

The Royal Swedish Ballet, Stockholm / Michel Quéval
Choreographer Peter Wright stages Swan Lake as a romantic gothic tragedy. This stunning production focuses on the heartbreaking role of the Prince in this dramatic classic, honouring the 1895 Petipa/ Ivanov original. Starring Nathalie Nordquist as Odette/Odile and Anders Nordström as Prince Siegfried

extra features include
• ‘Back to the original’ - an interview with the director of the Royal Swedish Ballet, Petter Jacobsson
• ‘A beautiful way of moving’ - interpretations of principal dancers, Nathalie Nordquist and Anders Nordström
• ‘Love transcends Death’ - Sir Peter Wright on the production’s choreography
• ‘The tale of Swan Lake’ - illustrated synopsis
• Notable productions of Swan Lake - an overview of all historic productions of this classic ballet.

R E V I E W S

"…outstandingly performed under Michel Quéval’s baton – and that’s just the start. …staging,choreography and dancing (by both corps de ballet and soloists) are all excellent. …yet another superb Opus Arte release."
- Classic FM DVD best buy

Also available on Blu-ray

It is the one ballet that everyone knows, has heard of or seen, and it is one of the loveliest and most frequently performed works in the ballet literature. No other ballet is capable of conjuring up such intensive images, dreams and yearnings simply at the mention of its name as Tchaikovsky’s Swan Lake. Rudolf Nureyev created a new version of it in 1964 for the Vienna State Opera; it helped the dancer and choreographer, then 26 years old, to achieve international fame and also projected the Vienna State Ballet onto the world stage, where it was to become one of the company’s greatest successes.To mark the 50th anniversary of this ballet, the Vienna StateOpera is now reviving it with new sets and costumes designedby Julia Spinatelli, whose concept is inspired by the fairytalephantasy world of King Ludwig II incorporating simple, paintedbackdrops and few accessories, to present a new Swan Lake.
Pyotr Il’yich Tchaikovsky
SWAN LAKE

Prince Siegfried - Vladimir Shishov
Odette / Odile - Olga Esina
The Queen / The Prince’s mother - Dagmar Kronberger
Rothbart / The magician - Eno Peci
The Prince’s friend 1 - Alice Firenze
The Prince’s friend 2 - Kiyoka Hashimoto
The Prince’s friend 3 - Greig Matthews
The Prince’s friend 4 - Masayu Kimoto
The big swan 1 - Gala Jovanovic
The big swan 2 - Oxana Kiyanenko
The big swan 3 - Laura Nistor
The big swan 4 - Prisca Zeisel
The cygnet 1 - Maria Alati
The cygnet 2 - Ioanna Avraam
The cygnet 3 - Eszter Ledán
The cygnet 4 - Rui Tamai

Vienna State Opera Ballet
Vienna State Opera Orchestra
Alexander Ingram, conductor

Rudolf Nureyev, choreographer
Luisa Spinatelli, set and costume designer
Marion Hewlett, lighting designer

Recorded live at the Vienna State Opera, 16 March 2014

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.0
Region code: 0 (worldwide)
Booklet notes: English, German, French
Running time: 132 mins
No. of DVDs: 1 (DVD 9)

Tchaikovsky was ideally equipped to write the music for the ballet Swan Lake. His gift for vivid theatricality, for lively, memorable melodies, and for rich characterisation was allied to a mastery of dance rhythms. These qualities were augmented by his command of orchestral colour. And yet early performances were disappointingly received. It was only after some structural and choreographic revisions in 1895, two years after the composer’s death, that the work was fully appreciated for the masterpiece that it is.

"The orchestra is full of interesting colors, and, under Yablonsky gives the familiar melodic material considerable direction and shape. There is something wonderfully human about the interpretive ideas that makes these performances so interesting." -- Peter Dobrin, The Philadelphia Inquirer, February 2003

"Let me say immediately that this new complete Swan Lake is thoroughly recommendable, and most enjoyable, both as a performance and recording. The Russian State Symphony Orchestra is obviously thoroughly at home in this glorious music. So is their excellent conductor, Dmitry Yablonsky, whose tempi can hardly be faulted.Throughout the four acts, Tchaikovsky's magnificent score is presented spontaneously and excitingly, vividly underlining the coherence of this masterpiece. The Russian solo playing is consistently impressive: Act 2's 'Dances of the Swans' (with fine solo violin and cello contributions) are as vivid as the national dances of Act 4. The orchestra is set back realistically and the effect is always convincing, suitably brilliant with good range and atmosphere and arresting climaxes (the Russian trumpets are especially striking)." -- Ivan March, Gramophone

Classical Music

Though Peter Il'yich Tchaikovsky was a highly prolific and successful composer, he offered only six chamber works for publication. This brief catalogue included three complete string quartets and four single movements.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Recording information: Ehem. Ackerhaus Abtei Marienmünster (09/25/2008-09/26/2008); Ehem. Ackerhaus Abtei Marienmünster (02/03/2009-02/04/2009).

For a time, Tchaikovsky's string quartets seemed unjustifiably consigned to the far corners of the repertory. While they may not be exemplars of Beethovenian classicism or cogency, their own particular qualities of melodic profligacy, rhythmic originality, and dramatic argument make a strong case for their wider exposure. If ensembles can regularly program Debussy and Ravel quartets, there's no reason why they shouldn't do Tchaikovsky. The New Haydn Quartet clearly has no doubts about the quality of the music, approaching it with all the intelligence, musicianship, and enthusiasm one would bring to quartets by Beethoven, Bartók or Dvorák. Quartet No. 1's first movement second subject receives a loving caress at a slightly slowed tempo, as does the wistful violin solo in the beautiful Andante Cantabile movement. One of Tchaikovsky's most telling characteristics is his unique ability to build up sequences of almost unbearable tension, as he does in Quartet No. 2's first movement with its spiraling chromatic melodic ladder. The New Haydn players shirk not a bit from this purple passage, infusing it with a steely edge and power more more typical of works such as Shostakovich's quartets. They are equally committed in the anguished slow movement, here conjuring up the world-weary spirit of Eugene Onegin, while they toss aside their tear-filled hankies and kick into high gear for the dancing finales of both works. The Borodin Quartet on EMI may be more idiomatic and powerful in some respects, but their harsh Melodiya recording is no match for Naxos's beautifully lush sound. This release is self-recommending, and a vital addition to the Tchaikovsky discography. --Victor Carr, ClassicsToday.com

This disc was nominated for the 1997 Grammy Award for "Best Classical Engineered Recording."

Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.

Pyotr Il'yich Tchaikovsky
THE SLEEPING BEAUTY
(Blu-ray Disc Version)

Princess Aurora – Alina Cojocaru
Prince Florimund – Federico Bonelli
King Florestan XXIV – Christopher Saunders
His Queen – Elizabeth McGorian
Cattalabutte – Alastair Marriott
Carabosse – Genesia Rosato
Lilac Fairy – Marianela Nuñez

The Royal Ballet
The Orchestra of the Royal Opera House
Valeriy Ovsyanikov, conductor

Marius Petipa, choreographer

Recorded live at the Royal Opera House, Covent Garden, London on 5 December 2006.

Bonus:
- Cast gallery and illustrated synopsis.

Picture format: 1080i High Definition
Sound format: PCM 2.0 and 5.1
Region code: 0 (All Regions)
Menu language: English
Subtitles (extra features): French, German, Spanish, Italian
Running time: 135 mins
No. of Discs: 1 (BD50)

R E V I E W:



TCHAIKOVSKY The Sleeping Beauty • Valeriy Ovsyanikov, cond; Alina Cojocaru ( Princess Aurora ); Frederico Bonelli ( Prince Florimund ); Marianela Nuñez ( Lilac Fairy ); Genesia Rosato ( Carabosse ); Royal Op House Covent Garden O • OPUS ARTE 7037 (Blu-ray Disc: 135:00) Live: London 12/5/2006


David L. Kirk favorably reviewed this 2006 Royal Ballet performance of The Sleeping Beauty in Fanfare 32:3. I would just add a few comments. Alina Cojocaru as Princess Aurora gives an elegant and seamless performance that manages to enchant without making you constantly aware of her impeccable technique. Cojocaru’s Princess Aurora may not quite be on the level of her signature role of Giselle, but she is the focal point of this extravagantly casted performance, despite some formidable and charismatic competition. Marianela Nuñez, as the Lilac Fairy, is mesmerizing, and could just as easily be Princess Aurora. Frederico Bonelli (Prince Florimund) holds his own and interacts well with Cojocaru. Conductor Valeriy Ovsyanikov almost rivals Antal Dorati in rhythmic intensity, but tends to be a little rigid in comparison to the master ballet conductor. That presents no problem though, because none of the competing DVD versions have a conductor that can compare to Dorati. Barry Wordsworth produces some lovely lyrical moments conducting the 1994 Royal Ballet version, but he sounds rhythmically flaccid compared to Ovsyanikov, and that won’t do with The Sleeping Beauty . I am in full agreement with Kirk that the warm, traditional sets allow the dancers to stand out in a way that is ideal for The Sleeping Beauty.


The picture on this Blu-ray disc has the expected improvement in sharpness and dimensionality, but the high-resolution surround sound is even more important than the picture in The Sleeping Beauty . Tchaikovsky’s spectacular symphonic score is perhaps unprecedented in the world of ballet, even more so than Swan Lake and The Nutcracker. It requires high-resolution sound to make its maximum impact, and for that reason more than any other this Blu-ray disc is the way to go.


FANFARE: Arthur Lintgen