Tchaikovsky’s contemporaries tell us that he was good enough to become a concert pianist, if he had chosen to follow that path. But he preferred to focus on composition, and rarely performed in public concerts. His interest in the piano is mainly to be found in his many pieces for the instrument, and since most of these were suitable for amateurs with solid skills, they sold well and played an important role in building up his fame. Despite this, some view Tchaikovsky’s solo piano works are not performed as regularly as his orchestral works. Peter Donohoe disagrees with this take on Tchaikovsky’s solo piano works, insisting that all music requires performers to find the right approach, so he does not see Tchaikovsky as any kind of exception. He writes: “It is inexplicable to me that Tchaikovsky’s solo piano music should remain so infrequently performed, containing as it does all of the composer’s characteristic harmony, his wonderful melodic gift, his capacity for majestic gesture, magically beautiful moments, immense sadness, and passages of extreme excitement. His piano writing is often orchestral in texture, but also demonstrates the direct but very diverse pianistic influences of Liszt and Schumann, and incorporates in an almost naive way folk-style dance rhythms and melodies from Russia. This treasure trove is immensely rewarding to play, whether it be a small-scale salon piece such as the Humoresque Op. 10 No 2, or large in scale, such as is the gigantic Grand Sonata in G Major.”

REVIEW:

My instant reaction on pushing ‘play’ and hearing the first bars was ‘Ah – this is going to be good’. And so it proves, perhaps the most consistently enjoyable and satisfying recording of Tchaikovsky piano solos of recent years. There’s a lightness of touch, a crisp transparency and clarity of texture that sends the opening ‘Scherzo à la russe’ spinning off into the realms of sheer delight. A very fine issue indeed.

– Gramophone (Editor's Choice, February 2020)

Also available on Blu-ray

Bringing together again, for the first time since their premiere, Tchaikovsky’s opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season. With great intelligence, Tcherniakov renews the dialogue between the two masterpieces, and reveals their common origins. He thus reminds us that both Iolanta and The Nutcracker are first and foremost initiatory journeys, in which the heroes experience love and loss, fortune and misfortune. In doing so, Dmitri Tcherniakov, with the collaboration of contemporary choreographers Sidi Larbi Cherkaoui, Edouard Lock and Arthur Pita, goes as far as to completely disregard the magical extravaganzas that Marius Petipa associated to The Nutcracker, and radically turns the dream into a nightmare dominated by despair and loneliness. To insure the continuity and a sense of dramatic consistency between the opera and the ballet, Tcherniakov skillfully modulates the space provided by the Palais Garnier. A solution that also enables him to question the very nature of both theater and illusion, as well as their specular relationship with the reality they try to make us forget. Bulgarian soprano Sonya Yoncheva delivers a flamboyant interpretation of the blind princess Iolanta, and shares the stage with Polish tenor Arnold Rutkowski and Ukrainian bass Alexander Tsymbalyuk. The internationally renowned French conductor Alain Altinoglu joins forces with the Paris Opera Orchestra and Chorus, while the Paris Opera Ballet, among which Marion Barbeau- a radiant Marie - and the Etoiles Stéphane Bullion and Alice Renavand, revives the most popular ballet of all time.

Philharmonia of Russia conducted by Constantine Orbelian. Great scenes from 'Queen of Spades' captures the essence of the opera in a one-CD version with scenes chosen to represent the music, drama and characterization that make the opera memorable. Amelia Haygood, Delos label founder & Executive Producer: "I've loved 'Queen of Spades' for most of my life, and have long thought it should be up there among the all-time favorites. So it's a deep joy for me to present the drama and poignancy of Tchaikovsky's music at the high artistic level our singers, conductor and orchestra have achieved here. Unlike 'highlights' excerpts, or a collection of arias, this 'Great Scenes' version is meant to preserve the flow of the opera's story of love, obsession and madness. "

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Mikhail Pletnev is an artist whose genius as pianist, conductor and composer enchants and amazes audiences around the globe. His musicianship encompasses a dazzling technical power and provocative emotional range, and a searching interpretation that fuses instinct with intellect. Under his leadership, in a few short years the Russian National Orchestra achieved towering stature among the world's orchestras. They now present Tchaikovsky's stunning Symphony No. 1 and his Slavonic March, Op. 31.

"Pletnev is a most caring and thoughtful shaper of moods as the First Symphony shows. The playing is finely nuanced to match the strong balletic character. Indeed it made me think of Nutcracker more than once." - MusicWeb International, (Referring to original DG release now reissued on Pentatone.)

Also available on Blu-ray

This magnificent Royal Ballet production of Swan Lake is an unforgettable experience. Anthony Dowell’s interpretation of Petipa and Ivanov’s 1895 St Petersburg version set a standard and style that made it a ‘yardstick for others’ (New York Times). Wonderful choreography for the entire company includes the coveted double role of the gentle and vulnerable swan queen Odette and her predatory alter-ego, the black swan Odile. It is a challenge relished by principal ballerinas, and is danced here in a spell-binding performance by Natalia Osipova, partnered by Matthew Golding as a powerful and empathetic Prince Siegfried. Tchaikovsky’s glorious score shines, given the full force of the Orchestra of the Royal Opera House conducted by Boris Gruzin, and Yolanda Sonnabend’s detailed, Fabergé-inspired designs evoke the atmosphere of Imperial Russia in the era of the ballet's creation.

Pyotr Il’yich Tchaikovsky
SWAN LAKE

Odette / Odile - Natalia Osipova
Prince Siegfried - Matthew Golding
Von Rothbart - Gary Avis
The Princess - Elizabeth McGorian
The Tutor - Alastair Marriott
Benno - Valeri Hristov

Royal Ballet, Covent Garden
Royal Opera House Orchestra, Covent Garden
Boris Gruzin, conductor

Marius Petipa and Lev Ivanov, choreographers
Yolanda Sonnabend, set and costume designer
Mark Henderson, lighting designer

Recorded live at the Royal Opera House, March 2015

Bonus:
- Introduction with Natalia Osipova and Matthew Golding
- Anthony Dowell in conversation with Darcey Bussell
- Coaching Swan Lake
- Cast gallery

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Running time: 133 mins (ballet) + 18 mins (bonus)
No. of DVDs: 1 (DVD 9)

The London Symphony Orchestra, led by formidable conductor Yondani Butt, presents this outstanding recording of Tchaikovsky’s Symphony No. 5, Symphony No. 6 ‘Pathetique,’ and The Voyevoda- Symphonic Ballad. The programme was recorded in 2012 at the legendary Abbey Road Studios in London. Yondani Butt was born in Macau. He studied conducting with Wolfgang Vacano (1906-1985) at Indiana University, majoring in chemistry. He continued to study conducting with Josef Blatt (1906-1999) at the University of Michigan while pursuing his chemistry degree. Hailed by Robert Marsh of the Chicago Sun Times as “an outstanding talent,” Yondani Butt has received acclamation from critics and audiences for his many album recordings and concert performances. He died on August 28th, 2014.

Alexandra Dariescu makes her concerto debut with Tchaikovsky's Piano Concerto No. 1 with the Royal Philharmonic Orchestra. Alexandra Dariescu has garnered an impressive reputation for her outstanding solo recordings and concert performances and was recently named as one of 30 pianists under 30 destined for a spectacular career in the International Piano Magazine.

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

Also available on standard DVD

This special collection includes three Royal Ballet performances of Tchaikovsky’s beloved masterpieces: Anthony Dowell’s majestic production of the beautiful and romantic tragedy Swan Lake, The Sleeping Beauty in its detailed re-creation by Monica Mason of the landmark 1946 production, and Peter Wright’s classic production of the quintessential Christmas ballet, The Nutcracker. These spectacular and iconic ballets present the virtuosity and skill of the whole Company. "Osipova was riveting throughout... [Golding] demonstrates real brilliance and prowess." ( Swan Lake - The New York Times) "fresh and reinvigorated - Nutcrackers come and Nutcrackers go but the Royal Ballet's version is a hardy perennial. Peter Wright's version of Lev Ivanov's original 1892 ballet has undergone changes since its debut in 1984 but it remains the one by which all others must be judged. Francesca Hayward dances like a dream child as Clara, expressive, musical and guileless and is ably partnered by Alexander Campbell as Hans-Peter." (The Nutcracker - The Stage) "If you want spectacle at the ballet then this Sleeping Beauty is for you. Based on the opulent production that reopened the Royal Opera House after the Second World War, Monica Mason and Christopher Newton’s staging is a sumptuous homage to the splendour of the French court of Louis XIV. With so much richness on stage, in costumes, sets and the sheer number of courtiers and fairytale characters, the view from the stalls is full to bursting." (The Sleeping Beauty - The Times)

The Dudok Quartet Amsterdam embark on a traversal of the three string quartets of Tchaikovsky. This first volume contains Nos.1 & 2. No.1 has one of the most famous movements in chamber music; the beautiful Andante cantabile slow movement. The second quartet, though less popular, is a step forward for the composer. He said that it "was my best work, no other piece has poured forth from me so simply and easily. I wrote it in almost one sitting." The album concludes with the much loved Lensky's Aria from Eugene Onegin in a new arrangement for string quartet by David Faber, cellist of the Dudok Quartet. The album concludes with the much loved Lensky's Aria from Eugene Onegin in a new arrangement for string quartet by David Faber, cellist of the Dudok Quartet.

What moved a Russian composer with a deep-seated antipathy to England and the English to write music for the stage works of the most English of playwrights? It is difficult to say exactly what it was about Shakespeare that Tchaikovsky found so fascinating, but it would certainly be a rewarding subject for study from the viewpoint of depth psychology. Undoubtedly the subtle expressivity with which the poet endowed his figures, the portrayal of their psychologically motivated actions, and their compulsive weaving together of the dramatically intensified and often fundamentally contingent threads of the plot appealed to the rather introspective Tchaikovsky. The present release features the State Philharmonic Orchestra Minsk performing Tchaikovsky’s Fantasy Overtures according to Shakespeare.

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

Also available on standard DVD

The impossible love between a human prince and a swan princess, tragic fates, the constant opposition between imagination and reality: these are the core elements of Tchaikovsky’s Swan Lake. Profoundly classical, Valery Kovtun’s version for the Ballet of the National Opera of Ukraine is an homage to Tchaikovsky’s talent, but also to Marius Petipa’s timeless heritage. As in the original libretto, this Swan Lake ends with the two main character’s death, drowned into the lake’s tears. But evil is overpowered by love, and in the final apotheosis, Odette and Siegfried are forever united in a world of perfect harmony. A first-class company, the Ballet Company of the National Opera of Ukraine has toured all around the world: from the United States to Europe and Asia. Thanks to its rich classical heritage, the Company has managed to win the hearts of its audience thanks to its amazing technique and artistic maestria, and as in every good dance company, the whole is equal to the sum of its parts. The Company has also, over the years, established itself as a unique talent pool, that has nurtured first class dancers such as Iana Salenko (Staatsballet Berlin), Alina Cojocaru (Royal Ballet), Maxim Beloserkovsky and Irina Dvorovenko (American Ballet Theater); and the young gifted dancers that make the Ballet’s reputation ensure the preservation of the classical heritage of this historical and world-renowned company.

The impossible love between a human prince and a swan princess, tragic fates, the constant opposition between imagination and reality: these are the core elements of Tchaikovsky's Swan Lake. Profoundly classical, Valery Kovtun's version for the Ballet of the National Opera of Ukraine is an homage to Tchaikovsky's talent, but also to Marius Petipa's timeless heritage. As in the original libretto, this Swan Lake ends with the two main character's death, drowned into the lake's tears. But evil is overpowered by love, and in the final apotheosis, Odette and Siegfried are forever united in a world of perfect harmony. A first-class company, the Ballet Company of the National Opera of Ukraine has toured all around the world: from the United States to Europe and Asia. Thanks to it's rich classical heritage, the Company has managed to win the hearts of it's audience thanks to it's amazing technique and artistic maestria, and as in every good dance company, the whole is equal to the sum of it's parts. The Company has also, over the years, established itself as a unique talent pool, that has nurtured first class dancers such as Iana Salenko (Staatsballet Berlin), Alina Cojocaru (Royal Ballet), Maxim Beloserkovsky and Irina Dvorovenko (American Ballet Theater); and the young gifted dancers that make the Ballet's reputation ensure the preservation of the classical heritage of this historical and world-renowned company.

LIMITED EDITION. SINGLE PRESSING ONLY.

'Fire-eating virtuoso' is how Stereo Review described the finales of the Rachmaninoff concertos recorded by pianist Rafael Orozco (1946-1996) with Edo de Waart. Collected here are the complete Philips recordings of one of Spain's piano aristocracy, winner of the 1966 Leeds Piano Competition. There is passion and poetry in equal measure, and an instinctive feeling for the ebb and flow of a phrase in these recordings of works by Chopin, Schumann, Liszt, and Rachmaninoff. Barnstorming virtuosity from a distinguished member of Spain's piano aristocracy: the complete Philips albums of Rafael Orozco include several recordings new to CD.

At age 20, Rafael Orozco came to the world's attention at the 1966 Leeds Piano Competition. The fire and poetry of his Chopin, Liszt, and Albéniz won him first prize, and then a contract with HMV/EMI which led to several acclaimed albums such as the Chopin Préludes. However, Orozco entered his full artistic maturity around the time of his recordings for Philips, made between 1972 and 1975.

A solo album of Rachmaninoff is one of the newly remastered treasures which have been forgotten over time, but it confirms the depth of Orozco's touch at the keyboard and his instinctive feeling for the ebb and flow of a phrase. Orozco projects the volatile mood-swings of Schumann's Kreisleriana while holding close control over details of line and texture.

In his booklet appreciation of Orozco, Jed Distler compares the album of Chopin's Scherzos to meeting an old friend after a long absence: 'I had forgotten the nuanced scintillation in the first Scherzo's demonic outer sections, not to mention the uncommon precision and centeredness of the triplets in No. 2's famous main theme.' He points out the coruscating impact but also strong architectural feeling of the Liszt Sonata recording which stands out among the solo repertoire on the set.

Orozco also found a meeting of minds with the young Dutch conductor Edo de Waart. Aided by transparent Philips engineering, they explored all the refinements of dialogue in concertos by Chopin, Tchaikovsky, and Rachmaninoff. His playing of them strikes a rare balance between refinement, passion and a sense of abandon. However, his Philips catalogue has rarely been reissued on CD, making this first-ever collection of his recordings for the label a valuable reminder of Orozco's place in the pantheon of Spanish pianists, alongside the likes of Alicia de Larrocha and Esteban Sánchez.

Peter Wright’s timeless and enchanting interpretation of The Nutcracker has been in The Royal Ballet’s repertory for over thirty years. Presented in a festive period setting, this charming and magical production features Marianela Nuñez as the exquisite Sugar Plum Fairy and Vadim Muntagirov as her charming Prince. Vivid designs and spellbinding stage effects which include authentic Christmas tree decorations that magically come to life, and Tchaikovsky’s sumptuous, iconic score combine to create the quintessential Christmas ballet – an opulent treat for the senses for audiences of all ages. This production is filmed in High Definition and recorded in true Surround Sound.

Violinist Antje Weithaas stands for highest musicality, exquisite technique, and fabulous playing and artistry. On this release, she plays the solo part of these works, and also leads the Camerata Bern Orchestra. She explains her own reading of the score which in some cases is different from the “standard” reading: “I wanted to record Tchaikovsky for several reasons. Most importantly, I love Tchaikovsky’s music, particularly the two works featured on this recording. I wanted to coax the Tchaikovsky Violin Concerto out of the corner of virtuoso tradition, which it has occupied until now. In certain aspects, an established way of playing it has become somewhat cemented over the last decades. But neither do I see that approach justified in the score, nor does it correspond with my view of Tchaikovsky as a musician and a human being. We all found it thrilling to challenge and question our previous experience with this piece, both as performers and as listeners, and to tackle it as if it was new to us…”

Fedoseyev/Tchaikovsky Symphony Orchestra.

All Tchaikovsky's works for piano and orchestra exist, as do Bruckner's symphonies for instance, in multiple versions. Traditionally, these works have been played without commentary, mostly in versions shortened in one way or another. The aim of this Edition is to present the unabridged versions of Tchaikovsky's works for piano and orchestra as a box set. Sincere thanks are due to Dr. Polina Vaidman (Tchaikovsky Archive, Klin) and Prof. Lyudmila Korabelnikova, and to Dr. Marina Rakhmanova and Dr. Irina Medvedeva (Moscow). Extended conversations and and teamwork in the archives and on original manuscripts have been a great help. "In the making of these recordings, we have followed the composer's interpretative observations and annotations and his tempo markings, as shown in his manuscripts and his personal conducting scores." (Andrej Hoteev)

Paavo Järvi, Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, here launches a complete recording of Tchaikovsky’s symphonies, the first in both his rich discography and that of the Swiss orchestra: ‘When I think of the Fifth Symphony, I think of vulnerability and hope. It looks directly into our soul. It is perhaps the finest of his symphonies. The famous horn solo moves me and enriches me every time I hear it… Unlike the Sixth, the Fifth still holds out hope for life.’ The symphonic poem Francesca da Rimini op. 32 completes the programme. This dark and violent ‘symphonic fantasy after Dante,’ a drama of jealousy, was premiered in 1877, at the same time as Swan Lake.

Tchaikovsky’s unforgettable score combines with the magical choreography inspired by Lev Ivanov in an atmosphere of fantasy and the supernatural. Hoffmann’s Christmas story unfolds with breathtaking splendour and beauty in the most festive and enduring of all ballets. The Royal Ballet, whose Director, Sir Anthony Dowell, plays Drosselmeyer, is joined by the Orchestra of the Royal Opera House.

Anthony Dowell, Alina Cojocaru, Ivan Putrov, Miyako Yoshida, Jonathan Cope The Orchestra of the Royal Opera House / Evgenii Svetlanov

FORMAT: NTSC; REGION 1 | PICTURE FORMAT: 16:9 | APPROX RUN TIME: 133 MINS | SOUND: DOLBY SURROUND / LPCM STEREO

Extra features include
• The Transformation Revealed Behind-the-scenes secrets of the spectacular Christmas tree scene
• Producer Sir Peter Wright on the production and Sir Anthony Dowell on the role of Herr Drosselmeyer
• Fixed wide shots of the Snowflakes and Transformation scenes

R E V I E W S:

‘...gorgeously staged Nutcracker.’ -- The Guardian

‘…fabulously entertaining. …a deliciously mysterious Herr Drosselmeyer played by Dowell. I plan on returning to this ‘Nutcracker’ many,many times.’ -- The San Francisco Chronicle

‘Peter Wright’s traditional production of The Nutcracker is lovely Christmas stuff, with lots of tutus and tiaras.’ -- The Mail on Sunday

‘Now you don’t have to leave the comfort of your armchair to enjoy one of the most magical productions of recent years whenever you wish – in pin-sharp widescreen with CD-quality Dolby Digital surround sound. …Needless to say, the dancers are top class, the costumes exquisite, the music delightful and the sets as sumptuous as a wedding cake. Enjoy the best that ballet has to offer from the best seat in the house – your own.’ -- HMV Choice

Tchaikovsky: The Masterworks

Even four decades after his death, violinist David Oistrakh commands the highest admiration among fans, critics, and other performers as one of the most loved and admired musicians of all time. This is DOREMI’s sixth volume featuring David Oistrakh’s recordings and live broadcasts for the first time in digital and compact disc format. The recordings on the present release were made in 1945 and 1948, but have been digitally remastered to achieve optimal sound quality. The featured works are compositions by Tchaikovsky, which show Oistrakh’s versatile programming and technical skill. He is joined by the USSR Symphony Orchestra for the Serenade Melancholique for Violin and Orchestra, and by pianist Vladimir Yampolsky on the Meditation for Violin and Piano in D minor.

Classical Music

Brass instruments are a vital part of the festive fabric of Christmas, and Tchaikovsky’s iconic ballet The Nutcracker is made even more joyful with the brassy brilliance of Septura. Narrated by preeminent actor Derek Jacobi, The Nutcracker is set on Christmas Eve, with music both rapturous and fantastical. It tells the story of how young Clara’s favorite present, a nutcracker shaped like a little man, turns into a handsome prince at midnight. Septura has been acclaimed by Brass Band World for its ‘stylistic perfection’ and ‘beautifully portrayed artistry.’

Sleeping Beauty by Peter Iljitsch Tchaikovsky (1849–1893) is one of the greatest and most iconic ballet music compositions of all time. After the success of the previous Tchaikovsky releases (Snow Maiden and Swan Lake), Kristjan Järvi once again took the highlights of Tchaikovsky's composition and arranged them into a kind of symphony. He recorded this album with his orchestra, the Baltic Sea Philharmonic. Tchaikovsky’s score for the Sleeping Beauty runs to almost three hours, but Kristjan Järvi condensed the ballet into a version lasting around 70 minutes. Kristjan’s thinking when he put together his arrangement is purely musical, which makes the music easy to follow for the listener.

The unforgettable passion and intensity that soprano Leonie Rysanek and baritone George London brought to their most famous pairing in Wagner's Der fliegende Hollander is well-represented here as well on this recording of a 1955 live performance of Tchaikovsky's Eugen Onegin, starring Ms. Rysanek as Tatyana and Mr. London as Onegin. Though already becoming less common at the time, the opera is sung in German translation rather than Russian for the Austrian audience in attendance. This historic recording has been remastered in 24bit/96kHz sound.