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Daniel Morrison
Fanfare, May 2017

Jurowski leads a gripping performance, one that holds its own overall against others I’ve heard, …Jurowski’s energetic treatment of the first movement effectively conveys the joyfulness of the music. Tenor Vsevolod Grivnov sings mellifluously, with firm, well-focused tone and strong, unstrained high notes, although Sergej Larin, who sings the tenor part for both Pletnev and Kitaenko, brings to bear more tonal weight. Jurowski takes the wedding-bells movement at a relatively quick and flowing pace. Tatiana Pavlovskaya, whose singing in Prokofiev’s operas The Gambler and Semyon Kotko I have praised previously, here excels in lyrical and Romantic material. She sings eloquently, with beautiful tone and refined, nuanced expressivity. …The chorus is excellent, and the orchestra plays very well… © 2017 Fanfare Read complete review

David Nice
BBC Music Magazine, March 2017


Apart from its virtues as a brilliant piece of programming—a Bartok American green salad between two slices of rich black Russian bread—this concert should be snapped up by Prokofiev lovers. It’s been a long time since we’ve had an electric performance of his seismic 1917 invocation Seven, they are Seven, and there’s no contemporary recording to my knowledge of the Op. 7 Poems for female chorus and orchestra. Their silver age gleaming here pleads better concert-hall acquaintance. As a serene glide before the eruption of the cantata, they work superbly. And here we have the best of Russian ensembles, the Yurlov State Academic Chorus, a reminder of vintage Soviet-era quality. © 2017 BBC Music Magazine

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