Daniil Trifonov SILVER AGE

 

SILVER AGE

 

Wiener Philharmoniker / Valery Gergiev / Jonas Kaufmann SOMMERNACHTS KONZERT 2020

SOMMERNACHTS KONZERT 2020

 

Daniel Lozakovich / Münchner Philharmoniker / Valery Gergiev LUDWIG VAN BEETHOVEN Violin Concerto

VIOLIN CONCERTO

 

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 9

SYMPHONY No. 9

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 8

SYMPHONY No. 8

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 6

SYMPHONY No. 6

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 5

SYMPHONY No. 5

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 4

SYMPHONY No. 4

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 3

SYMPHONY No. 3

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 2

SYMPHONY No. 2

Münchner Philharmoniker / Valery Gergiev BRUCKNER Symphony No. 1

SYMPHONY No. 1

Jan Vogler / WDR Sinfonieorchester / Cristian Măcelaru MUHLY - HELBIG - LONG "Three Continents" SHOSTAKOVICH Cello Concerto No. 2

THREE CONTINENTS - CELLO CONCERTO No. 2

Mariinsky Orchestra / Valery Gergiev STRAVINSKY Petrushka - Jeu de Cartes

The Mariinsky Label presents Valery Gergiev’s first recording of Stravinsky’s iconic Petrushka score, paired with one of the composer’s hidden gems, the witty Jeu de cartes.

Stravinsky’s score to Petrushka is one of his most celebrated works and a product of his famous collaboration with Diaghilev that also produced The Firebird and Rite of Spring. Presented here in the composer’s original 1911 version, it tells the story of the loves and jealousies of three puppets who are brought to life during the 1830 Shrovetide Fair in Saint Petersburg. Its colourful music typifies Stravinsky’s work during the period and is characterised by the famous bitonal ‘Petrushka chord’.

A ballet in ‘three deals’, 1937’s Jeu de cartes stems from Stravinsky’s life-long enthusiasm for cards; poker in particular. A commission by Lincoln Kirstein and his newly formed American Ballet Company, it was composed during Stravinsky’s neoclassical period. The whimsical music focuses on the deceitful Joker who thinks himself unbeatable, thanks to a chameleon-like ability to become any card. During the work the Joker wages battle with other hands, but after two victorious rounds and the appearance of a third, he is vanquished by a Royal Flush of Hearts. Stravinsky regularly read La Fontaine during the composition of Jeu de cartes, choosing this quote to include in the score: ‘We must wage continual war against the wicked. Peace in itself is a fine thing, I agree, but what use can it be with enemies who do not keep their word?’

VERBIER FESTIVAL 25 Years of Excellence

This limited 4-CD edition of previously unreleased live recordings from the Verbier Festival celebrates the festival’s 25th anniversary.
Featuring admired DG artists as Martha Argerich, Yevgeny Kissin, Mikhail Pletnev, Bryn Terfel, Daniil Trifonov, Yuja Wang and conductors Valery Gergiev, Gustavo Dudamel, Kent Nagano and Kurt Masur in performances of both core classics and lesser-known works from the orchestral, concert, chamber and operatic repertoires.
Since 1994 the Verbier Festival has transformed a small Swiss Alpine resort into a unique hothouse for musicians to explore new repertoire and new partnerships, always with revelatory results. Founder Martin T:son Engström’s ambitious idea to create a summer festival in the Swiss Alps with a resident youth orchestra and an academy has for 25 years encouraged musical excellence and created a platform for young musicians to learn from the world’s finest artists, as well as offering audiences a dynamic, music-centered experience. A quarter century after the first festival, Verbier’s magic continues unabated and surely will do for years to come.

“I’ve been coming to Verbier since I was 21 and it was there that all these fantastic musicians who lived in my head became real. Verbier is so magical for me – it always feels like coming home, or a fun vacation with my closest friends.” Yuja Wang

Wiener Philharmoniker / Valery Gergiev / Anna Netrebko SOMMERNACHTSKONZERT 2018

The Summer Night Concert of The Vienna Philharmonic is the world's biggest annual classical open-air concert set in the magical Schönbrunn Palace Baroque park in Vienna. The concert will take place on 31 May 2018 and its theme for this year is 'An Italian Night'. The concert is broadcast on TV and radio in more than 60 countries, and thus reaches an audience of millions. The evening’s repertoire is an attractive combination of extremely popular works for orchestra including the William Tell Overture, the March from the opera Aida and the Intermezzo from Cavalleria Rusticana, as well as famous Soprano arias like Vissi d’arte, vissi d‘amore from the Opera Tosca. Valery Gergiev returns to conducts the Summer Night Concert and is joined by star Soprano Anna Netrebko in what promises to be one of the most popular concerts this year! (Presto Classical)

London Symphony Orchestra / Valery Gergiev RACHMANINOV Symphonies Nos. 1-3 - Symphonic Dances

This box set brings together Valery Gergiev’s acclaimed cycle of the complete Rachmaninov symphonies, which were recorded alongside the London Symphony Orchestra across 2008 to 2015. These masterful accounts of the Russian’s complete symphonies are accompanied by his 1940 composition Symphonic Dances, while two symphonic poems by Mily Balakirev echo the luxurious textures present throughout Rachmaninov’s music.

Gautier Capuçon / Mariinsky Orchestra / Valery Gergiev SHOSTAKOVICH The Cello Concertos

Though presented as a planned set, this pair of Shostakovich cello concertos actually consists of live concerts, the first in Paris and the second in St. Petersburg, at the Mariinsky Theater. They have the electricity of good live concerts, and they're beautifully recorded. They're also stronger in some places than in others, and if you're sampling, keep going for a bit: you may find things you like a great deal. To these ears it's the places where cellist Gautier Capuçon interacts with conductor Valery Gergiev and the Mariinsky Orchestra in complex ways. The long slow movement of the Cello Concerto No. 1, Op. 107 is one of those to these ears, with great subtlety in the balance of the cello and the orchestra, mostly broken up into solos and small groups. Capuçon is an elegantly lyrical player, and the slow opening movement of the Cello Concerto No. 2, Op. 126 is luxuriantly beautiful. In the faster movements, if you're looking for that bit of venom that often pokes through in late Shostakovich, you'll find it in very short supply. Perhaps this is due to Gergiev's newly awakened pro-Russian attitudes, or perhaps the players collectively wanted to produce a more Western-oriented cello concerto pair to compete with the numerous all-Russian recordings on the market. It's not right or wrong, just something to be aware of. A worthwhile live Shostakovich release from a charismatic cellist and a veteran conductor. (James Manheim)

Valery Gergiev / London Symphony Orchestra BERLIOZ Roméo et Juliette

Released in the year of Shakespeare’s 400th anniversary, Valery Gergiev and London Symphony Orchestra are joined by soloists Olga Borodina, Kenneth Tarver and Evgeny Nikitin for Berlioz Roméo et Juliette, recorded live at the Barbican Hall in November 2013. Part of a major series of eight concerts, this work toured to venues in the Czech Republic, Germany, Austria and France.

A large-scale ‘symphonie dramatique’, Roméo et Juliette was the fruit of the composer’s dual fascination with Shakespeare and with the actress Harriet Smithson, whom he was later to marry. Using the story of the star-crossed lovers as a starting point, Shakespeare’s passion and drama is deftly portrayed through his music, as well as through the abundance of lyrical poetry, written by French poet Émile Deschamps.

Grammy-award winning mezzo-soprano Olga Borodina is a star of the Mariinsky Theatre, regularly appearing at major opera houses and with great orchestras around the world. A winner of the Rosa Ponselle and Barcelona competitions, Borodina made her highly acclaimed European debut at London’s Royal Opera House, Covent Garden, in 1992, sharing the stage with Plácido Domingo in Samson et Dalila – a performance that launched her international solo career as one of the most sought-after mezzos for her repertoire.

Kenneth Tarver is considered one of the outstanding tenore-di-grazia of his time. He has appeared at the most prestigious opera houses and concert halls around the world specialising in Mozart and challenging, skilled oratorio repertoire. He is a graduate of prestigious institutions including Interlochen Arts Academy, Oberlin College Conservatory of Music, Yale University School of Music, and was also a member of the Metropolitan Opera’s Young Artist Development Program. He has appeared on previous LSO Live recordings, notably the double Grammy Award winner Les Troyens, conducted by Sir Colin Davis. 

Bass-baritone Evgeny Nikitin trained at the St Petersburg State Conservatory, graduating in 1997. He has been described as ‘physically, vocally, a complete star’ by The Independent. His premiere solo performance was with the Mariinsky Orchestra and was followed by invitations to perform at major theatres and festivals across the world. His discography includes other recordings with Valery Gergiev, including Wagner Parsifal on the Mariinsky Label.

Anne-Sophie Mutter / Trondheim Soloists / Valery Gergiev BACH / GUBAIDULINA (CD 37 / ASM35)

In February 2007 the Russian composer Sofia Gubaidulina – she was born in Chistopol in Tatarstan in 1931 and has lived in Germany since 1992 – was awarded Hamburg’s prestigious Bach Prize: as a “pioneer of contemporary classical music” who has forged a link between Eastern and Western music.

Her own music has been inspired by that of Johann Sebastian Bach in more ways than one, with the result that it seemed obvious for Anne-Sophie Mutter to record two of Bach’s concertos alongside her worldpremiere recording of Gubaidulina’s most recent violin concerto, a piece dedicated to Mutter. “There is a profound spiritual affinity between Gubaidulina and Bach,” says the violinist. “Like Bach, she too draws not only a great deal of strength from her faith in God, but ultimately also a musical language all of her own.”

Written in 2006 – 07, the violin concerto is the first piece by the Russian composer that Anne-Sophie Mutter has recorded. “I knew about Paul Sacher’s commission and have been waiting patiently for ‘my’ work since the 1980s. Not that this means that I haven’t taken every opportunity to follow Sofia Gubaidulina’s career very closely, although I got to know her personally only just before the first orchestral rehearsal in Berlin, when I played In tempus praesens for her. It was a very moving moment for me. She is undoubtedly one of the most fascinating of all composers, in that every note reveals such great depths of emotion. She truly lives to compose and doesn’t compose to live.”

Sofia and (Anne-)Sophie – the similarity between the two names inspired Gubaidulina. “During this whole time, I was accompanied by the figure of Sophia – divine wisdom. It was all entirely spontaneous: our names are the same – it was this that provided the basis for this association,” the composer explains. For Gubaidulina, Sophia is the figure revered by orthodox Christianity, the personification of wisdom who has laid the foundations for all creativity and intellectual effort in the history of creation, preparing the way for all that develops organically in the world. She is the fountainhead of art and of the artist’s engagement with the lighter and darker sides of human existence. (Selke Harten-Strehk)