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8 Replies to “ Zachem Zhe Eti Slyozy - Tchaikovsky*, Kirov Opera And Orchestra*, Valery Gergiev - Pique Dame - Highlights (CD) ”

  1. There are major problems with all the current sets of The Queen of Spades, but Valery Gergiev, one of the outstanding Tchaikovskians of the day, here coaxes from a thoroughly Western-sounding Kirov Theatre Orchestra what's surely the most refined account of the score yet recorded, and one that's never lacking energy or full-blooded attack.
  2. Nov 16,  · Pyotr Ilyich Tchaikovsky () ROMEO AND JULIET State Symphony Orchestra of the Russian Federation 'E. F. Svetlanov' VALERY GERGIEV, cond. Recording: Grand Hall of the Conservatory, Moscow.
  3. Mar 20,  · Second Part: Great Opera and Ballet Theatre Rimsky-Korsakov Conservatory Saint Petersburg, Russia February 11th, 2.
  4. A rarity among Tchaikovsky’s operas, The Enchantress (also known as The Sorceress) is presented here in a live performance by the esteemed Nizhegorodsky State Academic Theatre of Opera and Ballet; Pavel Reznikov, conductor (Moscow, ). Sung in Russian; subtitles in English, French, and Russian, Color, , min., All regions.
  5. Major Domo. Gassiev, Nikolai. Conductor. Gergiev, Valery. Herman. Grigorian, Gegam. Liza. Gulegina, Maria. Orchestra. Kirov Chorus And Orchestra ST Petersburg. Label.
  6. This list of recordings of Tchaikovsky's Piano Concerto No. 3, Op. 75 (TH 65) does not claim to be exhaustive, but the following information is given, where known. Names of solo performers, with their instruments or stage roles given in parentheses. The name of the conductor of the orchestra or chorus.
  7. Tchaikovsky: Symphony No.6; Romeo and Juliet Fantasy Overture (CD) — от 5 (0) | SKU: MUCDN. Издател: Animato Music / Universal Music Носител: Audio CD Брой дискове: 1 Моля, обърнете внимание, че този продукт е с ограничена наличност в нашия.
  8. Jan 11,  · Valery Gergiev taps into the theatrical sensibility evidenced by his dynamic Kirov Opera recordings of Mazeppa, Iolanta, and Pique Dame to shape a psychological drama of devastating intensity in his account of the nihilistic Pathétique. He fires up the Kirov orchestra to a fevered pitch of inspiration, summoning a great luxuriance of sound and coloristic detail, from brass chorales as rousing as those on Judgment Day and imaginatively sprung wind solos to the composer's /5(24).

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