This 2010 recording of Tchaikovsky's eternally popular Swan Lake ballet, with Mikhail Pletnev and the Russian National Orchestra might be ideal for dancing, but it is less ideal purely as a listening experience.
This well recorded disc from 1985 delivers impressive readings of both of these works. Mullova takes a very individual view of these concertos and has the technical assurance to communicate her view with compelling certainty.
The Tchaikovsky concerto is played in the full uncut version that was written by the composer. This is now becoming more common but in 1985 was still unusual enough to warrant comment. By playing the notes as Tchaikovsky had intended Mullova signals a very serious intent which she carries out throughout these two concertos.
This version of The Queen of Spades was originally recorded in 1974 and made available as a special import; it was then generally released by Philips in 1988. Reviewing it at the time, AB gave a level account of its strengths, but had little difficulty in preferring the Tchakarov set when it was issued in 1990. Deleted by Philips, the Ermler performance has now been restored to the Melodiya catalogue. I cannot see anyone dissenting from AB's view: certainly I do not, except perhaps to regard him as being over-generous in his account of Atlantov's Herman in calling it ''loud and unsubtle''. Stronger words would also be appropriate, especially when Atlantov is compared with the sensitive Wieslaw Ochman on the Tchakarov set. Valentina Levko is a good Countess in what is a well-established Russian tradition of responses to the role: AB thought the old lady's reminiscences not so pointedly delivered as by some other singers, and I would add that she would certainly have acquired a better French accent during her long sojourn as the Venus of Paris.
The String Quartet No. 1 in D major, Opus 11, was Pyotr Ilyich Tchaikovsky's first completed string quartet of three string quartets, published during his lifetime. (An earlier attempt had been abandoned after the first movement had been completed.) Composed in February 1871, it was premiered in Moscow on 16/28 March 1871 by four members of the Russian Musical Society: Ferdinand Laub and Ludvig Minkus, violins; Pryanishnikov, viola; and Wilhelm Fitzenhagen, cello.
This Soviet production filmed live at the Kirov conveys the full beauty of Tchaikovsky's vision. It is a poetically tender work which was confirmed by Tchaikovsky himself in 1878 when he said I played the whole of Eugene Onegin, the author was the sole listener, the listener was moved to tears. Eugene Onegin is Tchaikovsky's most lyrical operatic work. While composing it, he wrote he was filled with indescribable pleasure and enthusiasm. The opera is based on Pushkin's novel in verse and was first produced in Moscow on March 29, 1879. Featuring Sergei Leyferkus as Onegin, Yuri Marusin, Tatiana Novikova, Larissa Dyadkova.
"Discovering Tchaikovsky" is a two-part series in which conductor Charles Hazlewood explores one of the works featured in BBC Two's accompanying drama-documentaries on the composer's life.In each programme, Charles Hazlewood dissects the musical score itself, working through the music and explaining and analysing key points in the material with the orchestra performing fragments of the score to illustrate his points.
The life of Peter Ilyich Tchaikovsky (1840–1893) exhibits as close a link as you will find anywhere between an artist's inner world and the outward products of that artist's creative activity. As a man, Tchaikovsky was defined by and indivisible from his music, which became an outlet for all the shifting moods of his turbulent soul. As Professor Robert Greenberg says, "If Tchaikovsky felt it, it found a way into his music."