It's intriguing to compare this recording of Brahms' first two symphonies by Vladimir Jurowski and the London Philharmonic Orchestra from 2008 with recordings of the same works and the same orchestra by Wolfgang Sawallisch in the 1980s, Eugen Jochum in the 1970s, and Adrian Boult in the 1960s. Jurowski's tempos are generally much quicker, his textures much leaner, and his attacks much more incisive than any of the earlier recordings.
In celebrating Vladimir Jurowski's first 10 years as Principal Conductor since 2007, this set of recordings embraces established orchestral classics as well as unearthing rarely heard masterpieces, certain to both challenge and reward the listener simultaneously. These 22 previously unreleased recordings showcase Jurowski’s typical flair for brilliant programming.
Composed in 1783, Thrice Betrothed, Never Wed was the young Cherubini’s fifth opera and his first opera buffa. While it echoes its era—Paisiello, Cimarosa, Haydn, and early Mozart—it displays an almost Rossinian rhythmic bite and a few harmonic touches that look forward to the dramatic masterpieces of Cherubini’s Paris years (Lodoiska, Medée, Les deux journées, Anacréon, the C-Minor Requiem). Despite decades-long exploration of Cherubini, I have never encountered the opera before; this claims to be its first recording. The plot is filled with the expected inanities: disguises, mistaken identities, and Commedia dell’arte shenanigans. Don Pastacchio is the thrice-betrothed nobleman who is left standing when the music stops. After many false starts and red herrings, the other six characters finally match up into couples.
English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint.
Alessandro Corbelli takes the title role in Annabel Arden’s whirlwind production of Puccini’s compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love. As performed at Glyndebourne, Gianni Schicci is here combined in a double bill with Rachmaninov's dark setting of Alexander Pushkin's 'little tragedy'. The Miserly Knight, also directed by Annabel Arden and featuring an outstanding performance from Sergei Leiferkus in the role written for the great Russian bass Fyodor Chaliapin.