Even with 15 other versions of Rimsky's masterpiece of orchestral virtuosity to choose from — some in the top flight — this was recognized from the first as one of the most rewarding, thanks largely to Krebbers's exceptionally sweet, gently appealing and bewitching personification of the story - spinning Scheherazade and to Kondrashin's skill in pacing and shaping movements as a whole, relating the diverse tempos and building up tension and dynamics by careful control so as to create climaxes of thrilling intensity and power. the 'shipwreck' finale, in particular, was overwhelming; and this was achieved without resorting to the ultra - fast tempos adopted by some conductors to whip up excitement. The Concertgebouw's crisp, sonorous and sensitive playing (full marks both to the splendid strings and to the wind soloists) was caught with the utmost fidelity; but the Compact Disc's total exclusion even of minimal extraneous background now marks a still further improvement, as can be judged by the dead silence against which Scheherazade's pleadings are heard. The final coda is ravishingly beautiful.
“Gergiev conducts a sweeping performance, with a typically superb cast of the Kirov's revival years, full of rising stars - Diadkova, Ognovenko, Bezzubenkov and the superb character tenor Gassiev. Charming also is the staging, reproduced from airy, painterly 1920s sets. Museum opera, maybe; but then museums are there to preserve treasures. And this is an absolute gem.”(Music Magazine)
Opera lies at the heart of Rimsky-Korsakov’s colourful idiom, but performances are few and far between; this realisation of his penultimate and grandest stage work is a very rare and special experience. Kitezh is known as ‘the Russian Parsifal’, which encapsulates its mystical flavour and steady unfolding of a legend of redemption. A largely Russian cast (headed by the stunning Svetlana Ignatovich) and production team works within a set that moves from opulent naturalistic scenery to some startling theatrical coups worthy of Rimsky’s underrated dramatic instincts.
According to classical music specialists, a good performance of Scheherazade requires a top notch orchestra, great conducting, and outstanding individual performance, as well as timing since there is a definite storyline to follow. Flaws on any orchestral department, will be "merciless exposed" along the score. The Chicago Symphony, to many, the most european sounding of all american orchestras, meets all these requirements, as does Ozawa, who knows this score well. It was my first recording of the work and I always go back to it, since has a perfectly well chosen tempo, the solo violin is sweet and umpretentious, and the sound although not as dramatic as others, offers a very "symphonic" account, which always satisfies. The coupling of Borodin is more than adequate and great music too.
The Capriccio Italien was inspired by a trip Tchaikovsky took to Rome, during which he saw the Carnival in full swing, and is reminiscent of Italian folk music and street songs. As these elements are treated rather freely initially he intended this piece to be called Italian Fantasia. Tchaikovsky even uses as the introduction a bugle call that he overheard from his hotel played by Italian cavalry regiment. Another source of inspiration for this piece are Mikhail Glinka's Spanish Pieces. Capriccio Espagnol, Op. 34, is the common Western title for an orchestral work based on Spanish folk melodies and written by Nikolai Rimsky-Korsakov in 1887(wikipedia)
Rimsky-Korsakov epitomises the fantastic side of the Russian soul. Regarding opera as „essentially the most enchanting and intoxicating of lies,“ he drew on his country’s rich folk heritage to create a fairy-tale world in which the fanciful and commonplace were fused through extravagant orchestral virtuosity and fervently Romantic vocal writing. This Châtelet revival of Le Coq d’Or brings to the stage once again the great Kabuki actor Ennosuke III’s striking staging of Rimsky-Korsakov’s opera first mounted in co-production with the San Francisco Opera in 1984. Born into one of Japan’s most important Kabuki families in 1939, Ennosuke III is a master of his art, who has worked to give this traditional theatre form appeal for modern audiences. As an actor, director and producer his aim has been to bring back the energy and excitement of Edo-period Kabuki. High-tech special effects, dynamic lighting, stunning costumes and minimalist sets have drawn new fans to his ‘Super Kabuki’ shows. He worked on this sumptuous production of Le Coq d’Or with an all-Japanese creative team and the result had an Oriental beauty and fascination entirely appropriate to this satirical fantasy opera. Completed in 1907, Le Coq d’Or, based on Pushkin’s 1834 poem, was Rimsky-Korsakov’s last opera.
The Annecy Classic Festival has become a major player in the national and international cultural landscape. In residence at the 2013 Annecy Classic Festival, the St. Petersburg Philharmonic closes the festival and joins forces with its iconic conductor Yuri Temirkanov. Together with multi-gifted musician Denis Matsuev, the St. Petersburg Philharmonic Orchestra invites us on a journey, whose secret lies in Rachmaninov’s famous Piano Concerto No.2 and the Symphonic Dances. Denis Matsuev, the «Siberian Bear» as they call him, interprets the Piano Concerto No.2 virtuously and passionately. Yuri Temirkanov takes us on a journey through One Thousand and One Nights with a performance of Rimsky-Korsakov’s lush Sheherazade, with its intoxicating scents and the glowing, oriental colours.