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CDS 430/1-3 DDD,
P.I. TCHAIKOVSKY,
OPRICHNIK,
World Prémiere recording - complete opera 3CDs,
Gennadi Rozhdestvensky, conductor. Dynamic continues its collaboration with the Fondazione Teatro Lirico di Cagliari, which has already led to successful releases such as, for example, Die Feen (CDS 217/1-3) and Cherevichki (CDS 287/1-3).
This time it is Tchaikovsky’s early but fascinating work Oprichnik that has been rediscovered, the Russian composer’s first, real, convincing step of his theatrical career. Oprichnik pleased many people but not its author, who, despite having worked at it with enthusiasm, after seeing the first performance at the Mariinskij theatre of St Petersburg, found it “without action, without style and inspiration”. Too stern an evaluation, indeed, but one which reflects Tchaikovsky’s tormented soul.
Oprichnik is a powerful, dramatic work and, although it lacks the introspection of more mature operas, it has wonderful melodic passages, and intense and captivating arias and duets.
Gennadi Rozhdestvensky, on the podium, leads a cast of experienced singers.
See details: dynamic.it
CDS 402/1-2 DDD 2CDs,
N. PAGANINI:,
SOLO,
Complete music for solo violin - 2CDs (includes the 24 Caprices),
Stefan Milenkovich...This double Cd set offers, for the first time, all the music composed by Paganini for solo violin. In addition to the famous 24 Caprices Op. 1 there are works such as the Sonata a violino solo, Inno patriottico con variazioni, Tema variato, Capriccio a violino solo “Nel cor più non mi sento” and Caprice d’adieu, some of which are world première recordings. With extraordinary mastery Stephan Milenkovich not only tackles the virtuosic 24 Caprices but offers a comprehensive survey of solo violin writing, which the Genoese composer, more than any other in the history of music, contributed to develop and expand.
See details:Paganini Recital
CDS 439 DDD,
Piano four hands / two pianos in the xx century:
KurtÁG, ligeti, Berio, Scriabin, Lutoslawski,
Paola Biondi,
Debora Brunialti....Whether it be a question of metaphysics or simply one of “physics”, piano writing which multiplies hands and fingers on the keyboard of a piano must necessarily experience a fatal syndrome of splitting and of highly fertile “uncertainty”. An exceptionally rich and fruitful “philosophical” doubt, for it is around it that many composers created some of the most vital piano pages in the nineteenth and twentieth centuries. Here thus are Lutoslawski’s prodigious Paganini Variations, Kurtag’s sentimental and visionary Játékok (Games), Ligeti’s Three pieces for two pianos (Monument – Selbsportrait – Bewegung) and Berio’s Linea. Tackling these difficult works are pianists Biondi and Brunialti, forming a solid duo.
See details: dynamic.it
IDIS - Istituto Discografico Italiano, (Historical recordings)
IDIS 6417/18 AAD,
Arturo Toscanini conducts:
BEETHOVEN, FIDELIO,
Complete version (1944),
Excerpts from Act one (1936),
Studio & Live recordings.
This double CD contains for the first time together the only two extant documents of Toscanini’s interpretation of Fidelio. Of the 1936 Salzburg performance only a few fragments have survived, which, nonetheless, are enough to give us an idea of Toscanini’s ambitious approach to Beethoven’s work and its challenging theatrical aspects. The 1944 studio version is characterised by a faster pace and is compelling for its tension and overall solidity. It remains one of the milestones in the interpretation of Beethoven’s only lyrical work.
See details:dynamic.it
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