SKØYERSTREKER OG KAMP MOT VINDMØLLER
Oslo-Filharmonien og Vasily Petrenko presenterer her den andre utgivelsen i en serie med innspillinger av Richard Strauss’ orkestermusikk. På denne CD-en presenteres lytteren for tonediktene «Don Quixote», «Don Juan» og «Till Eulenspiegel»; verker som Oslo-Filharmonien har en lang historie med å fremføre.
Vasily Petrenko, som har vært orkestrets sjefdirigent siden 2013, utnytter den særegne intensiteten i orkestrets spillestil til fulle i fremføringen av denne spennende og virtuose musikken. Orkesterets egen solocelist, Louisa Tuck, er solist i "Don Quixote". Oslo-Filharmonien, med sjefdirigent Petrenko i spissen, høstet fantastiske kritikker i inn- og utland for sin første innspilling i denne Strauss-serien (LWC1166, «Also sprach Zarathustra» / «Ein Heldenleben»). Utgivelsen ble også kåret til «Editor’s Choice» i magasinet Gramophone!
Vasily Petrenko er en av de mest signifikante musikerne av i dag, og han har høstet mye ros og vunnet priser for sine innspillinger av det russiske repertoaret, bl.a. to Gramophone Awards. Med Oslo-Filharmonien har han spilt inn verker av Sjostakovitsj, Szymanowski, Strauss og Prokofjev, i tillegg til en stor syklus med orkesterverker av Aleksandr Skrjabin.
Oslo-Filharmonien så dagens lys i 1919, og i løpet av det neste halve hundreåret vokste orkestrets renommé jevnt og trutt. I 1979 overtok Mariss Jansons dirigentstaven, og under hans ledelse nådde OFO sitt fulle potensiale som en verdig konkurrent til de store filharmoniske orkestrene i Wien, Berlin og New York.
MERRY PRANKS AND BATTLES WITH WINDMILLS
Oslo Philharmonic Orchestra and Vasily Petrenko offer here the second release in a series of recordings of Richard Strauss’s orchestral music. On this CD the listener is presented with the tone poems “Don Quixote”, “Don Juan” and “Till Eulenspiegel”, works that long have been part of Oslo Philharmonic’s repertoire.
Vasily Petrenko, who has been the orchestra’s chief conductor since 2013, takes full advantage of the Philharmonic’s distinctive style in the performance of this exciting and virtuosic music. The orchestra’s own solo cellist, Louisa Tuck, is soloist in “Don Quixote”. Oslo Philharmonic Orchestra, under the baton of chief conductor Petrenko, reaped glowing reviews in Norway and abroad for its first recording in this Strauss series (LWC1166, “Also Sprach Zarathustra / Ein Heldenleben”). The release was also selected as “Editor’s Choice” by Gramophone Magazine.
Vasily Petrenko is one of the most significant figures on the classical music scene today, and he has won numerous accolades for his recordings of the Russian repertoire, including two Gramophone Awards. With Oslo Philharmonic Orchestra he has recorded works of Shostakovich, Szymanowski, Strauss and Prokofiev, as well as a large cycle of orchestral works of Alexander Scriabin.
Oslo Philharmonic Orchestra first saw the light of day in 1919, and over the next half-century the orchestra’s reputation grew steadily. In 1979 the conductor’s baton passed to Mariss Jansons, and under his leadership Oslo Philharmonic achieved its full potential and became a rival to the great philharmonic orchestras of Vienna, Berlin and New York.
ANMELDELSER/REVIEWS
«Den praktfulle tolkningen av orkesterets fiolinsolist, Louisa Tuck, som er solist i Don Quixote, tar av med sublimitetens kraft. Strauss ønsket å lage en opera, men han avfeide den fordi han mente at karakteren til Cervantes var en for overfladisk dramatisk personlighet. Petrenko behandler Don Juan , og galskapen hans, frimodig. Det attraktive kjærlighetstemaet til oboen skiller seg elegant ut fra det energiske treseksjonen i det norske orkesteret. De siste øyeblikkene, som beskriver deres skumringsår og deres død, høres med en Wagnerian- glans . I det endelige verket, Till Eulenspiegel, tar Oslo Filharmoniske Orkester opp den geniale tonen til komponisten. Tolkningen skiller seg ut for sin detalj og eleganse. En ny plate som fremhever musikalen til disse flotte musikerne.» Núria Serra, Sonograma Magazine, 29.10.2019
"Strauss’s gift for counterpoint reached a peak in the work’s extended introduction, a dazzling, playful overlaying of the three main themes. One of this performance’s joys is cellist Louisa Tuck – crucially not an imported celebrity soloist but the Oslo Philharmonic’s regular principal. Meaning that her exchanges invariably ring true; Quixote's bittersweet death is exquisite here, Vasily Petrenko capping it with the sweetest of codas. The orchestral playing is superb throughout: sheep, flying horses and windmills uncannily vivid. My new favourite Don Quixote, magnificently engineered." Graham Rickson, theartsdesk, 16.11.2019
“Although Strauss’s Fantastic Variations on a Theme of Knightly Character was first performed with a renowned soloist – and has been recorded by the greatest cellists – the instrumental personification of Don Quixote, and the viola solos portraying his esquire Sancho Panza, suggest players integrated into the orchestra. Louisa Tuck and Catherine Bullock are both superb in this brilliantly played account.” HC, Sunday Times
"...the Oslo-Filharmonien orchestra’s playing is magnificent and the LAWO Classics recording does it total justice. Petrenko, especially in the later variations, whips up a storm with the best of them. He’s not afraid to let loose and yet deeply impresses with the work’s more reflective music. [...] I have no hesitation in considering this new production now the best way to collect these three Strauss works on a single disc." Leslie Wright, Musicweb International, December 2019
«Oslo-filharmonien og Vasily Petrenko er ute med den andre Richard Strauss-platen. Og det er en god oppfølger, der orkester og ikke minst solisten Louisa Tuck er i musikalsk godlune. Det er et glitrende cellospill som tenner den musikalske lidenskapen i «Don Quixote» op.35. Oslo-filharmoniens solo-cellist serverer en god dose lidenskap i sitt spill og maler den musikalske historien på godt vis. […] Petrenko viser her at han er med på å forvalte gløden fra Jansons orkesterbygging på en meget god måte. Orkesteret har en rekke dyktige solister i sine rekker. Nevnt er cellisten Louisa Tucks briljante spill, med også de andre solo-innslagene på denne platen er med på å gi innspillingen et skinn av storhet.» Trond Erikson, Den klassiske CD Bloggen, 26.12.2019
“For Don Quixote Petrenko follows the score’s lead in casting his orchestra’s superb principal cello, Louisa Tuck, as the Knight. Her playing is beautifully integrated and superbly eloquent – the hush and tenderness of the final minutes is especially moving. Tuck’s interplay, too, with Catherine Bullock’s bumptious Sancho Panza is a delight; […] The couplings are outstanding, too. Don Juan bristles with energy and anticipation but Petrenko also brings subtlety and, as the piece progresses, a growing sense of our protagonist’s conscience catching up with him. […] With superb playing and excellent engineering, this is another highly recommended album in what’s turning into a very fine series.” Hugo Shirley, Gramophone Magazine, January 2020 - page 1 - page 2
"Like the Maazel [VPO/Decca], Petrenko's Don Quixote is with orchestra principals (ladies from London and Yeovil here!), in this generously filled second Oslo Strauss disc. Louisa Tuck is eloquent in the 'Knight's Vigil' and touching in her 'expiry' and if the orchestra hasn't the burnished gloss of the Berlin Philharmonic they make up for that in vital characterisation under Petrenko. He is particularly good at seamless transitions in these three pieces (where both Dons and Till all perish!) and this is far from a 'hear once and then forget' trio of performances. You'll discover lots of orchestral details lost with other conductors." CB, hifinews.com, February 2020
"These are good, if not exceptional recordings of three of Strauss’s most popular tone poems. (The three works have racked up a total of over 350 recorded performances.) Louisa Tuck plays in Don Quixote with virtuosic skill and an appealing tone quality. Her interpretation of the title role—it must be so described—is sympathetic and movingly emotional. Petrenko’s tempos are flexible, but with an ear towards the overall design of each piece. This especially makes Don Quixote cohere. Recorded sound is fine." O’CONNOR, American Record Guide
INTERVJU/INTERVIEW
Interview with Vasily Petrenko summer 2019
VIDEO
RICHARD STRAUSS (1864–1949)
Don Quixote, Op. 35, TrV 184
1) Introduction /// 06:20
2) Theme /// 01:06
3) Maggiore /// 01:08
4) Variation I. Das Abenteuer mit den Windmühlen /// 02:38
5) Variation II. Der Kampf gegen die Hammelherde /// 01:44
6) Variation III. Gespräche zwischen Ritter und Knappe /// 08:07
7) Variation IV. Das Abenteuer mit der Prozession von Büßern /// 01:48
8) Variation V. Don Quixotes Wacht in der Sommernacht /// 03:51
9) Variation VI. Die verzauberte Dulzinea /// 01:19
10) Variation VII. Der Ritt durch die Luft /// 01:10
11) Variation VIII. Die Fahrt auf dem verzauberten Nachen [Barcarolle] /// 01:58
12) Variation IX. Der Kampf gegen die vermeintlichen Zauberer: der Angriff auf die Mönche /// 01:08
13) Variation X. Zweikampf mit dem Ritter vom blanken Monde: Heimkehr des geschlagenen Don Quixote /// 04:28
14) Finale: Don Quixotes Tod /// 05 :39
15) Don Juan, Op. 20, TrV 156 /// 18:22
16) Till Eulenspiegels lustige Streiche, Op. 28, TrV 171 /// 15:32
Kommentarer