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New, Ravel: La Valse & Mussorgsky: Tableaux d'une Exposition
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Les Siècles, François-Xavier Roth
The choice of instruments produces a wealth of almost infinitesimally distinctive timbres that cumulatively bring a real freshness and revitalisation...Ravel's treatment of Mussorgsky's composition... — More…
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Throughout this enthralling and warmly recorded performance, Osborne maximises colour and atmosphere, yet manages to achieve a freshness of approach without recourse to idiosyncratic mannerisms.... — More…
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Mussorgsky-Stokowski: Pictures at an Exhibition
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Bournemouth Symphony Orchestra, José Serebrier
Serebrier's own imposing, heavyweight style yields different results to the volatile Knussen… but it's always absorbing. Something of the Stokowski sound is filtered through the refined texturing... — More…
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Mussorgsky: Pictures at an Exhibition
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Elena Zaremba (mezzo-soprano)
Berlin Philharmonic, Claudio Abbado
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Lewis has a natural empathy for Schumann, revelling in the first movement's impulsive changes of mood and projecting wonderfully calm inner reflection at the outset of the third. He emphasises... — More…
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Pletnev dazzles in the Mussorgsky, caressing its sublime poetry with a velvet-gloved sensitivity while throttling its chilling angularities into piano-shattering submission. His Tchaikovsky... — More…
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Mussorgsky: Boris Godunov (1869 Version)
Alexander Tsymbalyuk (Boris), Maxim Paster (Shuisky), Mika Kares (Pimen), Sergei Skorokhodov (Grigory), Okka von der Damerau (The Innkeeper), Alexey Tikhomirov (Varlaam), Hanna Husáhr (Xenia), Johanna Rudström (Feodor)
Gothenburg Symphony Orchestra, Kent Nagano
Nagano keeps Mussorgsky’s musical argument taut and the playing of the Gothenburg SO is very fine, even if he irons out some of the score’s crumpled earthiness...Nagano has gathered together... — More…
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Harshness is left to the Musorgsky, in which the characterisation is as sharp as a needle, with terrifying catacombs and spookily surrealist huts on chickens' legs...Immerseel tailors the trumpet's... — More…
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One doesn’t necessarily have to know the plots or subtexts attached to these ‘Tales from Russia’ to appreciate their musical essence. It helps, of course, to have a good narrator like Simon Trpčeski,... — More…
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The French items suit her slightly cool voice better. There’s a classy, moving grandeur to Didon’s ‘Adieu, fière cité’, and a lovely wistfulness to her Mignon…in short, here’s a beautifully regulated... — More…
