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  Classical Music Home > UK > Press Reviews 2011


March 2011

8.572323 SUK Fairy Tale
“Naxos’s recordings achieve a warmth and amplitude that suit the performances”
-Rob Cowan, Gramophone Magazine, June 2011



8.572582 All the Queen’s Men
“Savvy repertoire selection, lively singing and Jacob Heringman’s distinguished work as lute-song duo partner, continuo player and solo lutenist ensure the success of this release. Let’s hope the Sarum Consort’s Naxos debut is the first of many.”
-Andrew Stewart, Classic FM Magazine, June 2011


ODE 1174-2 RAUTAVAARA The Mine
“This recording fills a major gap in the Rautavaara discography and fills it with distinction”
-David Fanning, Gramophone Magazine, June 2011

“The Great Jorma Hynninen is in untarnished voice as the dictator figure. The commissar; the bass Hanu Niemelä is a dark Simon (the former partisan, an ambivalent leader of the rebelling miners): and the mezzo-tinted soprano Johanna Rusanen-Kartano a powerful Ira, his compromised lover”
-Hilary Finch, BBC Music Magazine, May 2011


8.660291-92 ROSSI Cleopatra
“The performance is strong enough to appeal to anyone curious about the byways of 19th-century opera”
-Richard Lawrence, Gramophone Magazine, June 2011

“Recorded live at the Sferisterio Festival, the performance is raw around the edges and suitably OTT. The best singing comes from Dimitra Theodossiou’s smoky-toned Cleopatra and Sebastian Catana’s handsomely harassed Diomede.”
-The Guardian, 8thApril 2011


8.572396 SHOSTAKOVICH Symphonies Nos. 1 and 3

“This latest instalment in Petrenko’s Shostakovich cycle with the RLPO more than maintains the superb standard they’ve set already. The quality on offer in the First Symphony is outstanding”
-Malcolm Hayes, Classic FM Magazine, July 2011

“At bargain price, Naxos’s offering is hardly bettered.”
-David Fanning, Gramophone Magazine, June 2011

“Steadily building up their catalogue of Shostakovich symphonies, the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko here bring together a distinctly odd couple. Listening to the licidity, economy and refined orchestral palette of the First Symphony, it is hard to imagine that only four years separate it from the Third’s radical departure from symphonic norms. But Petrenko musters his forces superbly in both scores, harnessing the orchestral virtuosity that each of them demands, and lending the maligned Third a plausible raison d’être additional to its mere significance as an instance of Shostakovich flirting with modernist Twenties trends… [the Third] needs careful handling if it is to assume appreciable shape, and Petrenko judges it expertly, knowing precisely when to put the foot down and increase the horsepower just as instinctively as he can allow the music to brood or manifest its strangeness. In the First Symphony he and the orchestra are fully equal both to the prominent, nifty solo writing and to the larger-scale sonorities, adding lustre to a disc that highlights intriguing stages in Shostakovich’s development.”
-Geoffrey Norris, The Daily Telegraph, 19th March 2011

“The latest gisc in the Liverpool Shostakovich cycle pairs two of the most fascinating of the early symphonies, which show the young composer testing a whole range of between-the-wars modernist idioms. Both performances more than maintain the standard that Vasily Petrenko and his orchestra set themselbes in the previous instalments. Their account of the First Symphony, especially, is beautifully judged – lean and lithe in the first two movements, with their brittle debt to Hindemith-style neoclassicism, but still finding authentic emotional depths in the slow movement and the introduction to the finale. Both here and in the Third Symphony, the RLPO’s playing is richly textured, and they meet all the virtuoso challenges that the later work throws at them, too. Petrenko makes as much sense of this odd work as any conductor I’ve heard, welding all its sections to a taut single movement, and making the choral hymn of praise to the revolution a genuinely convincing finale.”
-The Guardian, 18th March 2011

 “Every young composer needs the sensitive skill of Vasily Petrenko to join the dots of fits-and-starts inspiration, and I’ve never been more convinced by the whole, rather than just the isolated gestures, of the teenage Shostakovich’s First Symphony.”
-David Nice, BBC Music Magazine, May 2011

“Shostakovich’s mature music is so wide in its emotional range that the first three symphonies are easily overlooked. It would be a pity if this pairing of the First and Third became the Cindarella of the Roal Liverpool Philharmonic/Petrenko cycle: the playing is fabulously crisp and committed, while the interpretations combine atmosphere and a sense of proportion – to the benefit of the youthful First, which receives an eerily effective performance, free of exaggeration. The music rewards of the Third, a self-consciously “revolutionary” piece, may be fewer, but with the Philharmonic Choir contributing a lusty finale, this CD captures its upbeat pulse as vividly as any rival version.”
-Andrew Clark, Financial Times

“How good to be reminded by this fine addition to Vasily Petrenko and the Liverpool Philharmonic’s lauded Shostakovich cycle of just what an achievement the First Symphony really was…. Both Symphonies are given fabulously vibrant – and beautifully recorded – performances here.”
-The Sunday Times


8.572693 RIMSKY-KORSAKOV Scheherazade
“In many ways this is an admirable performance of Rimsky-Korsakov’s lovable masterpiece of colourful orchestration, Scheherazade, with the Seattle Symphony conducted but its outgoing music director of almost 26 years, Gerard Schwarz. It is a sumptuous performance and recording of Scheherazade with orchestra concertmaster Maria Larinoff giving a gleaming account of the eponymous heroine’s narrative.”
-Sunday Herald, 20th February 2011


8.572578 CORP String Quartets
“While he is more familiar for his vocal music and as a conductor, Ronald Corp’s two string quartets, together with his entertaining Country Matters for tenor and string trio, make for a varied programme. The First Quartet, which draws its inspiration from the character and habitat of that noble bird the bustard, is, like its companion piece, well made and securely in an English tradition voiced with supple energy.”
-Geoffrey Norris, The Daily Telegraph


8.572375 SCHUMANN Cello and Piano Works
“An enjoyable disc with much to recommend it.”
-Jessica Duchen, Classic FM Magazine, June 2011

“I was taken aback by how much I enjoyed this disc.”
-Andrew Clark, Financial Times



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