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Mark Koldys
American Record Guide, November 2014

If you like Khachaturian, you’ll probably like his film music. These scores offer spectacular battles and Soviet marches along with some passages of striking beauty. © 2014 American Record Guide Read complete review on American Record Guide

Nick Barnard
MusicWeb International, October 2014

…the bulk of the disc in both works is well engineered and balanced…this disc deserves a warm welcome both as a sample of the composer’s considerable talent and the dedication and skill of conductor Adriano. © 2014 MusicWeb International Read complete review

Daniel Jaffé
BBC Music Magazine, October 2014


The bitter bombast of Battle of Stalingrad and Othello’s poignant lyricism effectively show Khachaturian’s dramatic versatility. Vividly performed, well recorded. © 2014 BBC Music Magazine

Michael Cookson
MusicWeb International, September 2014

Adriano…is completely at home here…the Slovak Radio Symphony Orchestra acquit themselves reasonably well with the assured Adriano drawing dedicated playing. The engineers provide good sound with an admirable balance.

This is a re-issue that should appeal mainly to specialist film score collectors and admirers of Russian music. © 2014 MusicWeb International Read complete review

Robert Cummings
Classical Net, September 2014

Adriano draws fine performances from his vocal and instrumental forces and provides the very excellent notes on the music. Those with an interest in Khachaturian or in film music should find this disc a most welcome addition to their collection. © 2014 Classical Net Read complete review

Lisa Flynn
WFMT (Chicago), August 2014

This album features [Khachaturian’s] own eight-part concert suite taken from the epic Battle of Stalingrad. The suite derived from the score for Othello reveals the full canvas of Khachaturian’s cinematic imagination, from glorious love music to darker scenes of despair. © 2014 WFMT (Chicago) Read complete review

Rob Barnett
MusicWeb International, August 2014

Here are suites assembled from the music for two of Khachaturian’s cinema scores. They are played for all they are worth. Adherents of this composer and of twentieth century music of the USSR will want to hear how he fared in dealing with the silver screen.

The Battle of Stalingrad original score ran to some two hours. The music often has a furious seething energy typical of the militaristic bravado found in the music for the Roman legionaries in Spartacus. There are some glowing interludes such as that to be found in the almost Bridge-like battlefield bleakness of tr. 3 and at the close of tr. 4 (Eternal Glory to the Heroes). The cheery brassy march that is To Victory is noticeably purged of the ferocity to be found in the turbulent flag-waving first movement.

If the Stalingrad score’s gaudy virtues are embraced, often at the expense of the more understated and nuanced, Othello from 1955 is much more multi-faceted. The little Venice Nocturne is a lovely miniature, showing as does much of this score, that Khachaturian is much more than a peddler of crushingly loud music.

The recording is extremely good despite its 25 year vintage. The notes by the conductor are helpful in placing the score and the films from which this music is drawn. © 2014 MusicWeb International Read complete review

Norman Lebrecht
Sinfini Music, July 2014

The Slovak Radio orchestra play well for Adriano and Viktor Simcisko’s violin solos are beautifully executed. The music has never sounded better. It should serve as a masterclass in how not to write for film. © 2014 Sinfini Music Read complete review

David Denton
David's Review Corner, July 2014

Khachaturian largely escaped the censorship of the Soviet hierarchy, and was entrusted with the task of providing the score for the film ‘The Battle of Stalingrad’. An epic film dating from 1949 that called for little more than noisy battle music for the 220 minute duration, and though it was subsequently recorded in its entirety, the composer later made a thirty minute suite for use in the concert hall. As the Soviet cinema opened up to Western influences, a chosen subject was Shakespeare’s Othello, one of the first Russian commercial films to be made in colour. A wordless Arioso for Desdemona; two sections that introduce a chorus; a spooky Nocturne, and the highly energised scene of Othello’s despair and jealousy, are the five highlights. The Slovak Radio Symphony respond with suitable enthusiasm to Adriano’s conducting… © 2014 David’s Review Corner

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