"…Within a great session at an scottish artist location sang Christian Willisohn very impulsive and played a very concisely piano. Expressive join in sax, guitar, bass and drums into a very dynamic and balanced sound characteristics…" ~sa-cd.net
"…Janowski's pacing and preparation of the orchestra is masterly. Reacting with sensitivity to the score, the tender & reflective scenes are given space to breathe without taxing the singers into strained tone. (…) The more one hears, the more one appreciates the vocal acting as well as the superlative orchestral contribution (make no mistake, there are at least 3 world class orchestras resident in Berlin today). This listener (at least) is eagerly awaiting the next installment of the Ring." ~sa-cd.net
"This is the 6th instalment of PentaTone’s successful Wagner Edition. It is the first time in the recording history that a label records all major Wagner opera’s with the same orchestra, choir and conductor. This makes the PentaTone Wagner Edition a great collector’s item. All operas are recorded live in the Philharmonie in Berlin. The first five recordings were awarded with “Editor’s Choice” (Gramophone), Recording of the Month and Opera Choice of the Month (BBC Music Magazine), CD of the week (Sunday Times). Based on the reviews of the concert we expect high scores for the Tannhäuser recording as well." ~prestoclassical
"PentaTone have definitely established a winning formula for success with the ten Wagner operas they are currently recording in association with Deutschlandradio Kultur in Berlin. (…) The presentation of this set is excellent. Thankfully, it includes a well translated German/ English libretto (unlike the travesty supplied with the Bychkov version), a thought provoking essay on the opera by Steffen Georgi and full artist biographies. Though my own allegiance to the Bychkov version among recent recordings remains steadfast this Janowski account is unlikely to disappoint. It will surely be welcomed by avid Wagnerites and makes one eager for the next issue in what is proving to be a superlative series." ~sa-cd.net
If one is searching for an extra-musical heading under which to bracket the con- tent of the Symphonies Nos. 4, 5 & 6 by Peter Ilyich Tchaikovsky, one cannot really avoid the word “fate”. Personal fate, to be exact. Thus his Symphony No. 4 (1876-78) was a frank confession straight from the soul, a subtle psychological portrait printed on paper. In a letter to his patroness, Nadezhda von Meck, he talked of “fate, this disastrous power, which prevents our urgent desire for happiness from achieving its objective”. After this, a further 11 years passed before Tchaikovsky attempted to compose another “purely” symphonic work – his Symphony No. 5.
Following the completion of the 4th’s subtle psychography, 11 years would pass before Pyotr Ilyich Tchaikowsky would return to the composition of a ‘purely’ symphonic work – the 5th Symphony (the composer considered his mighty Manfred Symphony dating from 1885 as his only explicitly programmatic symphony). Despite having just returned from a spectacularly received European concert tour, he commenced the project in a state of complete exhaustion, self-doubt & uncertainty. From his new country residence in Klin, he wrote in the spring of 1888: “I frequently have doubts about my own abilities & wonder if it is not time to stop, & if my creativity has not been stretched to the limit.” His comments in a letter to his benefactor, Nadeshda von Meck, in June, are similar; he fears that “the well may be dry.”
Not many world famous composers have been equally successful at writing both absolute and programme music. Moreover, only a mere handful has managed to achieve something truly extraordinary in both genres. One of these coposers was Peter Tchaikovsky. When inspired by great literature, his passion for reading likely stood him in good stead: after all, as far as Tchaikovsky was concerned, reading ranked ‘among the greatest moments of pleasure’.
"…This dramatic and involving 'Parsifal' raises Marek Janowski's epic Wagnerian journey to a new level of excellence that one hopes will be maintained in the performances and recordings yet to come - an exciting prospect for all Wagnerites!" ~sa-cd.net
"…This nomadic anthology captures the pathos of the human condition with originality and verve. Multichannel SACD is an ideal medium for this music. The understated nuances of the various stringed instruments are reproduced with clear acoustics, whether it’s a prominent rhythm guitar, or delicate lute. Tonal quality of the voices is flawless. The depth and texture of the vocals (in particular the ensembles) refine the musical eminence." ~Audiophile Audition
Nowadays, Tchaikovsky’s 1st 3 symphonies seldom appear on the concert programmes, whereas his symphonies 4 to 6 – in other words, the symphonies generally recognized as masterpieces – are regularly included. Thus the 3 early symphonies share a fate that none of them have necessarily earned. After all, each in its own individual way is a worthwhile symphony: the composer certainly did not consider them to be preliminary works, a type of precursor to the later symphonies. From 1866 to 1878, Tchaikovsky taught harmony at the Moscow Conservatoire & during this period, he composed – among other works – his 1st 3 symphonies, namely in 1866, 1872, & 1875. For Tchaikovsky, the journey leading to the symphony was not easy: on the contrary, he trod a painful path before tapping into this high-end genre.