Customer Reviews

Gala Concert from St. Petersburg / Anna Netrebko, Dmitri Hvorostovsky, Mischa Maisky, Victor Tretyakov, Elisso Virsaladze, Yuri Temirkanov, Nikolai Alekseev, St. Petersburg Philharmonic

5 star:		(13)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This DVD is indeed a celebration of all that is wonderful in Russian music-making. The setting is Philharmonic Hall in St. Petersburg and the orchestra is one of the world's best, the St. Petersburg (formerly the Leningrad) Philharmonic. Leading it in some of the pieces is Yuri Temirkanov; other works are conducted by Nikolai Alekseev. The cast of soloists is particularly starry. Two of them - Eliso Virsaladze, piano, and Viktor Tretyakov, violin - are not particularly well-known outside Russia but they are true giants of their instruments. And rounding out the solo roster are the hot young soprano Anna Netrebko, baritone Dmitri Hvorostovsky, and cellist Mischa Maisky.

The concert opens with Shostakovich's Festive Overture. The Petersburg's deservedly acclaimed brass section shines here (as well as in the Rachmaninov Fanfare that closes the concert). This is followed by possibly the best performance I've ever heard of Saint-Saëns's Introduction & Rondo Capriccioso, played with patrician elegance (and impeccable virtuosity) by Tretyakov. Then comes Ravel's Concerto for Left Hand with titanic pianist Eliso Virsaladze as soloist. I have raved about her before in two earlier CDs and hear nothing here to alter my opinion that she is one of the great pianists currently playing. (By the way, if you want to see my earlier reviews do an Amazon search on 'Wirssaladze' as that is how her name has been transliterated on those CDs.) Her performance is wonderful but frankly the orchestral accompaniment tends to lose its focus under Alekseev (something that often happens with this concerto, alas). The double bass and contrabassoon opening, however, is sterling.

Alekseev then follows with the exciting Polonaise from Tchaikovsky's opera Eugene Onegin. This must be for Russians what something like Rhapsody in Blue is for Americans -- and the Russian audience ate it up.

Anna Netrebko is a stunningly beautiful woman whose acting has been praised far and wide. Her voice is a beautiful instrument but there are times when it is not under perfect control. In 'Regnava nel silenzio' from Lucia di Lammermoor her coloratura is approximate and she has no trill. But in 'Musetta's Waltz' from La Bohème, which follows, she is thrilling. Hvorostovsky follows her with Yeletsky's aria from Tchaikovsky's Pique Dame and then a stunning 'O Carlo, ascolta' (Rodrigo's death scene) from Verdi's Don Carlo. He is in fabulous voice and both arias are greeted with huge cheers as, of course, Netrebko's had been.

For me, though, the best singer of the evening is cellist Mischa Maisky. He plays Respighi's not-often-heard Adagio con variazioni, Op. 133, followed by Bruch's Kol Nidrei. Maisky's tone is huge, his intensity reminds one of Rostropovich, and I admit that watching his thick workman's hands on the cello's fingerboard evokes for me something like awe. Maisky is a great musician as well as a great cellist. It's no wonder that Martha Argerich so often chooses to play chamber music with him. I'd never seen him perform live and I expect this is as close as I'll ever come. And these performances were worth the price of admission.

The concert concludes with Netrebko and Hvorostovsky singing the Silvio/Nedda duet from Pagliacci. Again, the acting is superb; the erotic attraction they are portraying is palpable. They sing well, too. The short Rachmaninov Fanfare concludes the program and the crowd expresses its appreciation with that peculiarly Russian gesture of rhythmic clapping. This was a wonderful concert and I understand their enthusiasm.

Scott Morrison

I had awaited this dvd to be released for a long time. As expected, the concert was wonderful with such great singers and soloists. It was great to watch Hvorostovsky sing, who is one of my favorite baritones. I bought this dvd mostly because of Misha Maisky, however. With such detail and passion, he plays Respighi's "Adagio con variazioni", Op. 133 and Bruch's "Kol Nidrei" so beautifully. I was mesmerized by his "true" music and sound he creates. But, watching the great performance wasn't as enjoyable as it shoud be because of the clumsy camera work. The camera distracts viewer's attention and is annoying becuase of too frequent close-ups on the cellist's face and showing unimportant parts of the orchestra even when the solo instrument is at its climax. The camera work is horrible in particular during Respighi's Adagio con variazioni is being played. The same problem is also at the end of Tretyakov's rendition of Saint-Saens's "Introduction & Rondo Capriccioso". The camera team should learn from other good examples: European Concert from Palermo featuring Gil Shaham and Sarah Chang's Spanish Night. In those concerts, the camera never fails to include the soloists throughout the whole performances unless they are not playing for a moment. Even though the concert deserves more than 5 stars, I have to cut 2 stars off because my favorite parts were ruined by the careless camera work.

The technical aspect of the dvd is superb. The sound format is DTS/DD 5.1 and PCM, the sound of which is so clear and rich. The vision is 16x9 enhanced.

I've been waiting for the US release of this DVD after seeing a clip from it on a cable arts channel many months ago, and it was worth waiting for. J Scott Morrison's review is right on target, and I'd just like to underline a few aspects. First, if you haven't seen Anna Netrebko before (or if you were put off by her MTV-like DVD, as I was), the Nedda/Silvio duet will astonish you. The passion is both vocal and visual, a real triumph of operatic art. Second, the assortment of pieces on the program is surprisingly interesting and diverse, one that I think will be pleasing to revisit often. Finally, a minor complaint: by the end of the DVD (in the duet), the picture and sound seemed slightly out-of-synch to me; I wonder if anyone else has noticed this? But the bottom line is: this is a wonderful disc, definitely five stars.

Gala concert performances usually celebatate anniversaries, and the artistic value and merit of the event, in the spirit of a festive occasion, may be unitentionally overlooked. Not on this DVD. All the artists perform to the highiest standards for which they are known. However, cellist Misha Maisky steals the show. His dark-color-varnished cello sings, and the intensity, darkness, fullness and emotion of the sound he pours out of this instrument it's breathtaking, and caresses your mind and heart to a dreaming abandon. The bond between this instrument and this artist is phenomenal and unique, and it deserves attention to quench one's curiosity.
Well, there is a Cinderella story behind the cello Maisky's playing. He made his U.S. debut at Carnegie Hall, in 1973, with the Pittsburg Orchestra under the baton of William Steinberg. After the concert, a unknown man from the audience was so moved by Maisky's performance that he gave him as a gift the cello he's playing now: a priceless 1730s Domenico Montagnana cello! Montagnana's cellos are a little shorter and a little wider than the Stradivarius, and that may explain, according to the experts, the darker and fuller sound. If this gentle and sesitive soul could see this DVD, he would know one more time that his gift has matched Maisky's virtuosity to a heavenly perfection.

Constantine A. Papas

This is a simply fantastic concert. I recommend it to everyone. The singing is divine and the
music too. Get a glass of champagne and sit in front of your TV, what a pleasure !

There are tons of big names in this Gala Performance.
Of the star-studded performer cast, there is however one clear standout - Mischa Maisky.
I never fancied the cello as an instrument - it is big, clumsy, dark sounding, its music often bordering on boring. Mr. Maisky changed all my preconceptions of the instrument.
Maisky is clearly one of the greatest musicians/artists of this era - not just cellist, but musician/artist. First of all, I give my hearty appreciation for his appearance (yes, appearance counts very much these days). Very avante garde looking, truly artistic and never detracts from his artistry;wonderful balance being struck in his apparel. Secondly, his artistry - I have never seen him playing, but would only say that I am totally mesmerised. He virtually becomes one with his instrument - you would not even bother to differentiate whether it is a violin, viola, or cello. The sound emerging is simply one beautiful singing tone - rich, luscious, expressive and highly sensitive. I learned that this instrument is a gift to the artist by a anonymous admirer, and is a precious antique instrument. How well Maisky merges himself with the instrument! I agree that the donor just simply could not be more pleased.
Apart from this legendary cellist, the programme features some other brilliant artists. Of particular interest to me is the star soprano Anna Netrebko, fresh of tone and abounding in vocal (and visual) beauty.
Well, she is 'the' star soprano now, unsurprisingly. I like her final duet with Hvorostovsky.
Of the solo pieces sung by Mr Hvorostovsky, the excerpt from Pique Dame is the best.
Probably Hvorostovsky and Netrebko now heads the long line of Russian musicians internationally. Even so, I wish musical fans would not miss out the other wonderful artists in Russia.
I've definitely added Maisky to my own list of classical superstars.

The Russians have put together an excellent concert with a variety of superb artists. Both the singers and instrumentalists are excellent. There is something for everyone.

O happy serendipity that led me to this stellar opus! For those fortunate enough to have hearts open to the transforming sublimity of music, this is a must-see/hear, a real lift. Despite strange & wooden "performances" by both conductors,1 who appeared too blasé to warrant any separate attention (at least they displayed `good hair'...kindly overlook the inscrutability of some Russians), the artists giving their best in this opulent theater more than make up for this sole drawback. As a whole, this marvelously eclectic concert does justice to the long artistic and cultural history of St. Petersburg, and its name-sake philharmonic orchestra of accomplished and attentive musicians is interesting to watch.

Seasoned violinist Viktor Tretyakov (b. 1946 in Moscow), an early musical talent and exemplary interpreter of Tchaikovsky (having won at age 19 the 3rd Int'l P.I.T. Competition, where he is for several years Jury President), has played with every major orchestra in the world, and he does not disappoint here, playing Saint-Saens' Introduction & Rondo Capriccioso, Op.28 with his characteristic impeccable technique and deep insight (note the reverence and deference on the face of the Concertmaster, fortunately captured by the filmmaker). In an unexpected segue from her masterful interpretations of Chopin, Schumann, Beethoven, and Mozart to a rarely-performed piece by Ravel, the next performer, Georgian Elisso Versaladze (b. 1942)--an exceptional pianist, professor at Moscow Conservatory and more recently the University of Music & Performing Arts in Munich (since 1995)--is stunning on Ravel's Piano Concerto in D Major (for left hand). The electricity she generates lights up the orchestra, who shine in tandem. The final instrumentalist is a long-time audience favorite, the petite Latvian cellist Mischa Maisky (b. 1948) with world-class credentials. He plays with obvious passion, big gestures, and a commitment to the music's intention added to his personal conviction. He delights with the seldom-heard Adagio con variazioni, Op. 133 by Ottorino Resphighi (1879-1936), a composer who studied briefly with Max Bruch2 and Nikolai Rimsky-Korsakov--but spellbinds with an unexpected performance in still anti-Semitic Russia (St. Petersburg's atonement?) of the aforementioned Bruch's Kol Nidrei, Opus 47 (subtitled Adagio on Hebrew Melodies for Violoncello and Orchestra), a popular work for cello & orchestra that is based on the Kol Nidre prayer.3 Maisky's ties to the city of Peter the Great date back to 1965, when at age 17 he won its national cello competition (when the city was known as Leningrad). He studied under Rostropovich but suffered a period of harassment by Soviet authorities and in 1970 was imprisoned for 18 months in a labor camp near Gorky. After his release, he emigrated to Israel, where he holds citizenship. In 1973, he debuted at Carnegie Hall, after which concert an anonymous admirer gave him a Montagnana cello from the 18th C., an instrument he still uses today. Maisky4 also studied for a time with Gregor Piatigorsky in Los Angeles, becoming the great master's last student...and the only person to have studied under both him and Rostropovich.

The concert's only two vocalists upheld the caliber of the earlier performers with their sensational biological instruments. The beautiful and effortlessly glamorous Anna Netrebko5 is a national--no, international--treasure, and she shines here, singing with unforced mien and the famous purity of voice coupled with sincere feeling, imperceptible acting, wisdom, even. She weaves a subtle, fascinating aura with her unspoiled yet provocative appearance and breathtaking voice as the tragic heroine Lucia de Lammermoor as well as the flirtatious Musette from La Boheme. Never more radiant than in her duet with Siberian-born baritone Dmitri Hvorostovsky, who matches her in all-around gifts (despite some sweat on his upper lip...wouldn't you, next to her?), she is captivating as the seductive Nedda in Leoncavallo's I Pagliacci, to his Silvio; the sexual tension here is excruciatingly tender and ultimately chaste as it ends in the most delicate but real kiss on film I've ever seen. Cultivated...yet breathtaking. The dark-eyed, silver-haired passionate and imposing Hvorostovsky, one of the voices of the century according to critics and one of the world's most beautiful people per People magazine, is a magnificent blend of technical command and magnetic presence, and his 2 well-chosen solos (as Count Jelezky with Ya vas liubliu--I love you--from Tchaikovsky's Pique Dame aka The Queen of Spades, and as Rodrigo in O Carlo, ascolta from Verdi's Don Carlo) aptly demonstrate his ability and appeal.6

This outstanding program concludes with a triumphant & wonderfully crisp Rachmaninoff Fanfare (Bis! Bis!), but the bows & credits almost spoil the mood by diffusing it; oh, well...editing & direction play second fiddle, if you'll pardon the poor allusion, to the fact that at least the producers knew enough to film this once-in-a-lifetime joy. One wonders, however, why Ms. Virsaladze is missing at the final bow; perhaps her left hand was bothering her. How interesting to notice that the St. Petersburg concert audience (one of favored favorites, as it was impossible for regular Russians to get tickets to this event) is as desultorily appreciative bunch as any American audience at a comparable event; plus ca change, plus la meme chose. Nevertheless, one is compelled to clap in rhythmic unison along with the Russians (of several ethnicities, the camera will have you notice) after every perfectly showcased piece--and not stop applauding at the end. Bravissimo!

1 Conductors Yuri Temirkanov (Principal Conductor & Artistic Director of the St. Petersburg Philharmonic) and Nikolai Alekseev
2 Max (Christian Friedrich) Bruch (aka Max Karl August Bruch, 1863-1920), prolific German composer-conductor in the Romantic classicist tradition, later a teacher of composition: Kol Nidrei, Opus 47, was so successful that it had his contemporaries assuming Jewish ancestry though there was no evidence of it.
3 The Kol Nidrei prayer is recited, plaintively and touchingly, at the beginning of the evening service on Yom Kippur (The Day of Atonement)--and often employed by Christians to support their assertion that the oath of a Jew cannot be trusted. It developed from a longing for a clear conscience on the part of those seeking an annual reconciliation with God. The necessity for such a reconciliation was predicated on the strong tendency of ancient Israelites and other Orientals to, due to their passionate nature, make binding vows to God. Later, Jewish religious code found it necessary to protest against any religious value in such self-imposed--and often frequent and rash--obligations, due to the many difficulties their resulting non-deliberate consequences created in people's lives. Hence, a historical and earnest plea to the Almighty for dispensation from such unintended responsibilities.
4 Mischa Maisky currently lives in Belgium and has 3 children (Lily, a pianist; Sascha, a violinist; & Maxim).
5 Anna Netrebko made her operatic debut at the Salzburg Festival in 2002.
6 "Do not grieve," a symphonic work by Giya Kancheli written for Dmitri Hvorostovsky and the San Francisco Symphony Orchestra, premiered in May 2002. The distinguished Russian composer Georgi Sviridov wrote a song cycle, St. Petersburg, especially for the baritone, who often includes it and other works by Sviridov in his recitals. He has also released the CD Sviridov: A Vocal Poem. Hvorostovsky has also starred in Don Giovanni Unmasked, an award-winning film based on the Mozart opera, tackling the dual roles of the lecherous nobleman and his disapproving manservant.

This Gala Concert was performed on June 1, 2003 celebrating 300 years of St. Petersburg in the Grand Hall of the St. Petersburg Philharmonic Orchestra. It is a glorious performance lasting nearly two hours with some solos by Anna Netrebko, soprano, and Dmitri Hvorostovsky, baritone. The St. Petersburg Philharmonic Orchestra is a joy to hear. Some of the pieces are those composed by well known composers, although I am not acquainted with some of the other composers. A truly wonderful experience to enjoy the beautiful music and singing.

This is one of those DVDs you can play over and over again. A real gala concert showing Russian performers at its best. Worthwhile buying. Additionally, the images and sound are excelent. A delight to eyes and ears.