Rimsky-Korsakov
graham.rickson
Brahms: Piano Sonata No. 1, Schubert: Wanderer Fantasy Alexandre Kantorow (piano) (BIS)I’d previously encountered pianist Alexandre Kantorow via his exuberant set of Saint-Saëns piano concertos, sparky, lovable performances conducted by his father Jean-Jacques. This solo disc contains weightier repertoire but the Kantorow’s elucidatory abilities prevent things ever getting oppressive; if there’s a more accessible reading of Brahms’s Op. 1 Piano Sonata on disc, I’ve not heard it. Questions of technique don’t arise here, and unless you follow with a score it’s easy to forget how Read more ...
Boyd Tonkin
Just as the first autumn chills began to grip, English Touring Opera rolled into Hackney Empire with a reminder that the sun – “god of love and life” – will eventually return. But at what price of suffering and sacrifice? Rimsky-Korsakov’s third opera, premiered in 1882, The Snowmaiden overflows with abundant musical riches – you can’t really miss the musical debt the composer’s star pupil, Stravinsky, owed his master – as it ambitiously seeks to balance fantasy and humanity in its fairy-tale of an ice princess thawed by mortal passion. Yet its mythic, and exotic, aspects make The Read more ...
David Nice
A plea to anyone who was seeing Rimsky-Korsakov’s last opera for the first time at the Hackney Empire: please don’t give up on ever seeing or listening to it again, as some I spoke to afterwards said they just had. I promise you, the fault lies in this production, though not for the most part in the singing.Pushkin’s original, very succinct, satirical verse fairy tale was a clever kick against the tyranny of Tsar Nicholas I; Rimsky-Korsakov and his librettist Belsky saw the twilight of empire in 1907, though the composer didn’t live to see his opera, so long censored and banned, on the stage Read more ...
David Nice
Boléro and Scheherazade may be popular Sunday afternoon fare, but both are masterpieces and need the most sophisticated handling. High hopes that the new principal conductor the Philharmonia players seem to love so much, Santtu-Matias Rouvali, would do Ravel and Rimsky-Korsakov justice were exceeded in a dream of a concert.It's the first time I’ve seen a packed audience at the Royal Festival Hall since lockdown. Young people were very much in evidence: even if there were special or free offers, the fact is they came. And what was the overall lure? Those popular classics? Or perhaps the 2019 Read more ...
David Nice
All 15 of Rimsky-Korsakov’s operas deserve to be seen and heard live at least once, though not all of them need staging. Veteran director David Pountney’s bold choice for Grange Park Opera actually gives us two, a prologue reworked as music-drama and the action of 15 years later, exclusive subject of the original and final versions of his first opera; for this Russian-opera trainspotter, that leaves only two more to tick off the list – Pan Voyevoda and Servilia (fine music, fusty ancient Roman plot). The dramaturgy of what's known here as Ivan the Terrible is peculiar, the action lopsided, Read more ...
David Nice
How do you render pure goodness interesting? Unorthodox director Dmitri Tcherniakov and radiant young soprano Svetlana Ignatovich make us smile and break our hearts with their take on the maiden Fevroniya: living at one with nature, seeing God in everything and destroyed by her encounter with civic life. There may be a touch too much religion and even putative Russian nationalism of the kind manipulated by Putin in Vladimir Belsky's poetic rendering of a myth, marrying the legend of a saint with the story of a city that vanishes to protect itself from the invading Tatars. But Rimsky-Korsakov' Read more ...
Gavin Dixon
Russia came late to the coronavirus lockdown, and will be leaving early – this evening Vladimir Putin announced that national measures were coming to an end, though the disease still rages there. The country’s theatres were quick into action when the lockdown began, and throughout April and May have been offering plays, ballets and operas online. Publicity for these has been minimal, and English subtitles a rarity (there were none for this performance), but for those who could find them, and then struggle though the language barrier, they have provided a fascinating window on domestic Read more ...
David Nice
It was a Disney theme-park of Russian music, and in an entirely good way: none of the usual rides, but plenty of heroes and villains, sad spirits and whistling witches, orientalia from the fringes of empire, pagan processionals and apocalyptic Orthodox chants. Soundwise, it would seem that Vladimir Jurowski had worked as carefully with the difficult Albert Hall acoustics as Stokowski had on an early form of stereo for Disney's Fantasia, for no orchestra has ever sounded better here than the London Philharmonic for this packed Saturday night Prom.Rimsky-Korsakov's Mlada has come to us Read more ...
Gavin Dixon
The London Philharmonic, conductor Vasily Petrenko and cellist Andreas Brantelid are just back from a tour of China, so they’ve had plenty of time to get to know each other. That affinity is apparent in the ease with which Petrenko (pictured below by Chris Christodoulou) marshals the orchestral forces, directly transmitting his trademark energy to every section. But the highlight of this concert turned out to be the Elgar Cello Concerto, given a far more intimate and low-key reading than we might expect from Petrenko himself. No doubt, Brantelid was the inspiration here, but Petrenko adapted Read more ...
David Nice
"You have to start somewhere," Debussy is reported to have said at the 1910 premiere of The Firebird. Which, at least, is a very good "somewhere" for Stravinsky, shot through with flashes of the personality to come. The Symphony in E flat of two years earlier, however, is little more than a theme park of all the ingredients amassed in Russian music since Glinka forged its identity less than a century earlier. It's fun to have on CD - and to play the opening in a "guess the composer" quiz (the reasonable answer would be Glazunov). To work in concert, it needs companions with more than the Read more ...
David Nice
There are certain roles where you’re lucky to catch one perfect incarnation in a lifetime. I thought I'd never see a soprano as Natasha in Prokofiev's War and Peace equal to Yelena Prokina, Valery Gergiev’s choice for Graham Vick’s 1991 production. When Vick directed a radically different take, also at the Mariinsky, in 2014, the Natasha was 25-year-old Aida Garifullina, born in Kazan so like Nureyev and Chaliapin a Russian of Tatar origins. Not only was she as beautiful and as youthful in spirit as the interim incumbent, Anna Netrebko, but like Prokina she seemed to live the intense emotions Read more ...
David Nice
Late January, and the soul longs for winter's end. Which is why Rimsky-Korsakov's bittersweet fairy story about the fragile daughter of Spring and Frost whose heart will melt when she discovers true love, allowing the sun to bring back warmth to earth, is so apt. Unfortunately the time of year is also one for striking singers down, so we missed two of the principals on Saturday night. The good news: their covers were fine enough to carry the charm of director John Fulljames's mostly magical storytelling.It's not easy, given the plot's meanderings, even with major cuts that lop off some of Read more ...