Shostakovich's "Leningrad" Symphony has been surrounded by controversy ever since it was written; it even ignited a battle between two great conductors, Toscanini and Stokowski, for the first American performance (Toscanini won). Composed in 1941 during the siege of Leningrad in homage to the Russian people's heroic resistance against the German invaders, it has been condemned by some as political propaganda, hailed by others as a symphonic masterpiece. Time and audiences everywhere have decided in favor of the latter view; today, the "Leningrad" is one of Shostakovich's best known, most popular symphonies. Though its programmatic content is clear, the emotional impact of the music itself invites listeners to imagine their own scenario. Gergiev has this music in his bloodstream and knows how to inspire an orchestra (two in this case); exploiting every instrumental resource, he elicits both massive and delicate playing, achieving powerful build-ups and tremendous climaxes. The result is a taut, concentrated performance that makes the symphony--Shostakovich's longest--seem shorter than usual; its no-holds-barred approach plumbs the depths and scales the heights of human experience, from bleak, grotesque irony to heart-breaking, anguished lamentation and ultimate triumph. The famous first movement march--a simple, deliberately trite little tune over a persistent snare drum figure--starts almost inaudibly; its eleven always different repetitions generate enormous suspense, and when the cumulative orchestration reaches its peak, you feel as if an entire army had marched over you. The recording's only flaw is its excessive dynamic contrast, so keep a finger on the volume control. --Edith Eisler

郎朗和俄罗斯音乐沙皇瓦列里·捷吉耶夫的合作，演绎拉赫玛尼诺夫的《第二钢琴协奏曲》和《帕格尼尼主题狂想曲》。捷吉耶夫神秘主义色彩的指挥风格和郎朗的激情演奏，实是天作之合，听来令人沉醉。

穆特首次巴赫录音
穆特，小提琴、指挥特隆赫姆独奏家乐团 ／杰吉耶夫指挥伦敦交响乐团
乍看之下，这张专辑的曲目非常突兀：巴洛克时期的巴赫搭配俄罗斯现代女作曲家古拜杜丽娜题献给穆特的小提琴协奏曲《当下》。事实上，乐曲的搭配相当巧妙：因为巴赫的作品一向是古拜杜丽娜的创作灵感。在穆特的诠释下，爱乐者可以从全新的现代角度来审视巴赫的作品，并且想象假如巴赫身处现代背景，可能会出现什么样的创作方向。
古拜杜丽娜第二号小提琴协奏曲《当下》创作于2006年至2007年间，由穆特在2007年的瑞士琉森音乐节中首演，2008年初与杰吉耶夫、伦敦交响乐团录制。为了突显出独奏，古拜杜丽娜删去乐团的小提琴编制，配器相当巧妙，由大键琴与打击乐器搭配华格纳低音号，让音色不至过于单调，抒情的长旋律给了慕特非常大的诠释空间。而在巴哈的作品里，穆特再度与当年合作维瓦第《四季》而且广受好评的年轻团体特隆赫姆独奏家乐团联手，打造出别出心裁的现代巴赫。

Amazon.com

Editorial Review:
Gergiev's is a Rite of Spring with a difference. He stresses the primitive barbarism of Stravinsky's groundbreaking score--the strange wheezings of the winds, the wild yawps of the tubas, and the deep rumblings of the bass drum. It's a Rite that stands out at a time when so many internationalized western orchestras give the piece an overlay of sophisticated polish that can rob it of the shock factor that drove the audience at the Paris premiere to riot. There are also numerous personal touches that can be controversial, such as the pause before the final chord, which may bother some but which work in the context of the interpretation. Gergiev's Rite faces strong competition from recorded versions by Markevitch, Dorati, Monteux, and Stravinsky himself, but it's definitely among the top choices. The Scriabin's less compelling, though still fascinating. Gergiev's approach tends to sound sectional, as the overall line is subordinated to momentary thrills. --Dan Davis

2018美泉宫夏季音乐会将迎来俄罗斯著名指挥家瓦莱里·捷杰耶夫，他将为观众带来多部选自意大利歌剧的音乐作品，比如威尔第、普契尼的歌剧，让人们充满了期待。
本场音乐会的曲目聚焦意大利歌剧作品，自然少不了那些传唱至今的经典咏叹调。在人们的期盼中，俄罗斯著名女高音歌唱家安娜·奈瑞贝科将登台献唱，奈瑞贝科是近些年国际歌剧舞台上最闪耀的明星之一，她的演唱将带给全世界观众非常美妙的音乐感受。
完整 曲目单中文翻译：
1罗西尼《威廉退尔》序曲
2威尔第《命运之力》序曲
3弗朗切斯科·切莱亚《我是上帝前辈的侍女》选自歌剧《安娜里安娜 莱科夫露尔》
4马斯卡尼《乡村骑士》间奏曲
5威尔第《凯旋进行曲》和芭蕾音乐选段 选自歌剧《阿依达》
6柴可夫斯基《拿波里舞曲》选自芭蕾舞剧《天鹅湖》
7普罗科菲耶夫《罗密欧与朱丽叶》第二组曲作品64之一《蒙太古与凯普莱特》
8普契尼《为艺术，为爱情》选自歌剧《托斯卡》
9普契尼歌剧《马侬·莱斯考特》间奏曲
10列昂·卡瓦洛 咏叹调《鸟儿在空中飞翔》选自歌剧《丑角》
11普契尼《哦，我亲爱的爸爸》选自歌剧《贾妮·史基基》
加演
12尤里乌斯·伏契克《佛罗伦萨进行曲》OP.214
13小约翰·施特劳斯《维也纳人的气质》圆舞曲OP.354

Amazon.com
Kancheli's Styx casts the viola as the mythological river that bridges life and death, the finite and the infinite. Typical of Kancheli's works, it's full of silences, long stretches of delicate pianissimo music, and eruptions of massive blocks of orchestral (and in this instance, choral) sound. Time seems suspended throughout its 34-minute length, and interest is held by the sound of Bashmet's viola, ranging from rich and deep to high, thin eeriness, and by the aura of mystery pervading the work. Gubaidulina's Viola Concerto shares some of those characteristics. It opens with a questioning viola solo and a halting, tentative-sounding orchestra, each punctuated by pregnant silences. Bashmet's viola is center-stage for most of the work and he plays with rapt concentration, bringing out the contrasts between light and shade that are a central motif of the work. Gubaidulina's Concerto shares Kancheli's sense of mystery, but her music has a tougher core. Both pieces are significant additions to the repertory, and it's hard to imagine better performances than those of Bashmet, Gergiev, and the other musicians. --Dan Davis

Since winning the 11th International Tchaikovsky Competition in 1998, Denis Matsuev has established a reputation as one of Russia’s leading pianists, and is renowned for his interpretations of Russian music. Matsuev embarks on a Tchaikovsky year for 2014 with a new recording of the Piano Concertos Nos 1 & 2, and an extensive tour of Europe and the US in the Spring.
SACD/DIGITAL MAR0548 822231854821
DURATION 67M 10S
DSD RECORDING, MARIINSKY CONCERT HALL, ST PETERSBURG, MARCH & APRIL 2013
VLADIMIR RYABENKO RECORDING ENGINEER
PHILIPP NEDEL (b-sharp) PRODUCER, EDITING & MASTERING
1SACD JEWELCASE WITH 32PP BOOKLET
NOTES IN RUSSIAN (CYRILLIC), ENGLISH, FRENCH AND GERMAN
COMPATIBLE WITH ALL CD PLAYERS – SACD LAYER INCLUDES MULTI-CHANNEL 5.0 AND STEREO MIXES