Glinka: Ruslan And Lyudmila [Box set]

Editorial Reviews
Amazon.com
This recording of Glinka's melodically marvellous but dramatically lacking fairy tale opera offers outstanding singing and conducting, a thoroughly idiomatic performance, and modern sound, all of which combine to make it the preferred edition. The only problem, and it's a minor one, is occasional intrusive noise from the house and stage--this is a live recording. For most listeners, the greater intensity of a live performance over a studio recording will overcome that objection. Anna Netrebko's Lyudmila is clear-voiced and winning; Vladimir Ognovienko has a typically back-of-the-throat Slavic production that is not a problem in this repertoire. Conductor Valery Gergiev offers one of his best performances in this series. --Sarah Bryan Miller

Glinka: Ruslan And Lyudmila, Music, Mikhail Glinka, Valery Gergiev, St.Petersburg Kirov Orchestra, Galina Gorchakova, Anna Netrebko, Gennady Bezzubenkov, Irina Bogachova, Konstantin Pluzhnikov, Larissa Diadkova, Mikhail Kit, Vladimir Ognovenko, Yuri Marusin, Classical, Classical Music, Opera, Opera / Operetta / Oratorio, Opera/Operetta, Russian Romantic Opera

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)
Average customer rating:

One of the best Liszt CD's you can own

Where Are The Rave Reviews ? This is Incredible

Wonderful operatic transcriptions

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Sarabande | Baroque Dance Suites | Ballets & Dances | Classical | Styles | Music
All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Keyboard | Instruments | Classical | Styles | Music
Howard, Leslie | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
Classical | Imports | Stores | Music
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Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)

Liszt at the Opera II

Liszt Transcriptions of Berlioz, Chopin, Saint-Saëns

Liszt at the Opera, Vol 4

Liszt at the Opera III

ASIN: B000002ZMJ
Release Date: 1993-11-16

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Ouverture aus der oper der Freischutz
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Don Juan
Operatic Fantasies, Paraphrases And Transcriptions: Aida di Verdi - Danza Sacra e Duetto Finale
Operatic Fantasies, Paraphrases And Transcriptions: Polonaise aus Tschaikowskys oper Jewgeny Onegin
Operatic Fantasies, Paraphrases And Transcriptions: Tscherkessenmarsch aus Russlan und Ludmilla
Operatic Fantasies, Paraphrases And Transcriptions: Sarabande und Chaconne aus dem Singspiel Almira
Operatic Fantasies, Paraphrases And Transcriptions: Benediction et Sermont- Deux motifs de Benvenuto Cellini
Operatic Fantasies, Paraphrases And Transcriptions: Valse de L'Opera Faust

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Isoldens Liebestod - Schluss-szenn aus Tristan und Isolde
Operatic Fantasies, Paraphrases And Transcriptions: Remeniscences de Lucia di Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Marche Funebre et Cavatine de Lucia de Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Halloh! - Jagdchor und Steyrer aus der oper Tony
Operatic Fantasies, Paraphrases And Transcriptions: Illustrations de L'Opera L'Africaine
Operatic Fantasies, Paraphrases And Transcriptions: part 2
Operatic Fantasies, Paraphrases And Transcriptions: Three Pieces on Themes by Auber (1)
Operatic Fantasies, Paraphrases And Transcriptions: 2
Operatic Fantasies, Paraphrases And Transcriptions: 3
Operatic Fantasies, Paraphrases And Transcriptions: 4
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Norma

Customer Reviews:

One of the best Liszt CD's you can own.......2006-08-19

I echo what the reviewer below me says and repeat, "Where ARE the rave reviews" for this? This is probably one of the greatest Liszt CD's you can have. The virtuosic performance and wonderful interpretations from Leslie Howard are worth the price alone, but the music... god this music is incredible. Liszt's genius and proficiency in composition must be admired when you hear what he does with simple melodies or themes from operas. The originality and beautifully crafted paraphrases, not to mention the meticulous transcriptions, are simply breathtaking.

Liszt takes us through dramatic storms, rousing waltzes, terrifying marches, lamenting hymns, romantic songs, and brooding worlds of music. The unique melodies that Liszt augments with the piano has to be heard. These pieces just as great and musically complex as his other piano works. Why aren't more pianists reviving these fantasies on the concert stage?

Where to start here... I have to comment on each work because there is not one piece here that should be overlooked! Each work here is exceptionally amazing and masterful. The transcription of the "Der Freischutz" overture is dramatic, powerful and memorable. "Reminiscences of Don Juan" speaks for itself, but as for the interpretation by Howard, I'm afraid it's not the best. I much prefer Bolet's. Verdi's "Aida" paraphrase is remarkably beautiful and potent in its melodies. The transcription of Tchaikovsky's "Polonaise from Eugene Onegin," is cheerful and brilliant. The march from Glinka's "Russlan and Ludmilla" is a perfect menacing concoction on the piano through Liszt's fingers with a devilishly awesome theme.

Most of all, the paraphrase of Handel's "Sarabande and Chaconne" is the most beautiful original piano work I've heard in years. That sad and mournful theme that Liszt plays with endless variations can move you to tears. Liszt picked one theme from a Handel opera and turned it into something as profound and moving as a Beethoven adagio and even more heart-felt than a Chopin nocturne. The transcription of Berlioz' "Benvenuto Cellini" is glorious and enticing; a testament to Liszt's transcribing abilities. And then Howard encores the listener on this first CD one last time with that catchy melody from the waltz in "Gounod's Faust." It's like any Mephisto Waltz Liszt ever composed and thrills the ear with its impish tempo and embellished Romantic sound.

On the second CD, the music only gets better! Howard gives one of the best executions of the Love-Death scene of "Tristan and Isolde." Those tender Wagner melodies on the piano which rise into a crescendo sound otherwordly on the piano and through Liszt's transcription. The wall of sound that builds, followed by the climax of crashes and wails on the piano sends chills up the spine. Howard plays it with such passion and touch. This is probably the only evidence one needs to realize Liszt was a genius with the piano.

The "Reminiscences of Lucia de Lammermoor" is another example of Liszt's prolific ability to make the piano speak and sing. More significantly, Liszt summons such darkness and tension in the marche funebre part; you're hearing a phenomenal piano composition here. Ernst's "Tony" is another stunning transcription by Liszt; the dynamics and craft of this transcription makes for an excellent piano piece. One of the greatest pieces on here though must go to the Paraphrases on Meyerbeer's "L'Africaine." The first one, especially, is beyond anything I've heard on the piano. Those first tragic chords from hell make way for a gentle melody of heaven. The entire piece rises and falls into a sea of heroic and virtuosic music; it simply speaks for itself of how good it is. The second paraphrase is original and uplifting, and of a whole different emotion than the previous one. By now, after you hear all of these fantasies and transcriptions you begin to realize how much the piano was like a bodily organ to Liszt; just as we can speak with our tongue in many gradations and accents, so can Liszt demonstrate any emotion, any subtle feeling or idea onto the piano.

Lastly, the Three pieces on Themes by Auber are not that noteworthy, but have their elegant and beautiful moments. The last piece on the second CD, the Reminiscences of Norma is another masterpiece beside the Reminiscences of Don Juan. However, I again prefer Bolet's more impassioned and thoughtful performance; Howard is ok, but not the best at exposing the magnificence and spirituality of this piece.

Bottom line: Any Liszt lover who has not heard these or does not own this must get it now! This is some of the best music of Liszt and it astounds me that this music has almost been dormant until Howard's discovery. It is superior music that proves Liszt was the most musical and original composer of his time. VERY HIGHLY RECOMMENDED

Where Are The Rave Reviews ? This is Incredible.......2005-04-28

This is a treat for opera fans and fans of classical piano. Franz Liszt loved the opera- a medium which is at heart musical and he felt inspired to transcribe operatic music for piano, probably out of his personal passion for opera and as a way for the middle-class folk of Europe who could play piano (and men and women did those days) to entertain in their homes. This is a vast collection of his best opera-to-piano transcriptions. The pianist last name Howard is a virtuoso, too bad he is'nt that well-known. He is playing piano music which is really quite difficult to execute. Liszt made the piano into an orchestra in itself and composed symphonic transcriptions of Beethoven and Berlioz. This is a rare and miraculous recording album and I feel that every fan of classical music and opera ought to own it.

The excerpts here, with some variations by Liszt's part, include Mozart's Don Giovanni, Verdi's Aida (the Finale) Webber's Die Freeschutz, Tchaikovsky's Eugene Onegin- the Polonaise, Wagner's Tristan and Isolde, Isolde's Liebestod, Berlioz' Benvenuto Cellini, music of Auber, Gounod's Faust (the Waltz) and Bellini's Norma among others. This is worth the price. The music is clear, crisp, beautiful and transcendent. Do not miss your chance of owning this glorious music, which if you are musically inclined, you can play on your own home. Opera on piano is great recital music.

Wonderful operatic transcriptions.......1999-09-17

Liszt at the opera--would he never left. Don Juan is a stand-out, as is the Weber, and the Tchaikovsky, and the...

Average customer rating:

Great Orchestral Melodies

Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Marches | Miscellaneous | Styles | Music

Tracks:

'Solomon': Arrival Of The Queen Of Sheba
'The Four Seasons': The Spring: Allegro
Canon In D
Orchestra Suite No.2: Minuet And Badinerie
Bach: Allegro
Symphony No.104: Adagio; Allegro
Divertimento For Strings, No.1: Allegro
Piano Concerto No.5: Adagio un poco mosso
'The Ruins Of Athens': Turkish March
Eine kleine Nachtmusik: Romanze: Andante
Marche Militaire No.1
'The Hebrides' ('Fingla's Cave'): Overture
'The Valkyrie': Ride Of The Valkyries

Tracks:

Slavonic Dances: No. 1: Presto
Slavonic Dances: No. 3: Poco Allegro
Slavonic Dances: No. 7: Allegro Assai
Slavonic Dances: No. 8: Presto
Coronation March
Entry Of The Gladiators
Serenade For Strings: Waltz
Samson And Delilah: Bacchanale
Piano Concerto No. 2: Adagio sostenuto
Russian And Ludmilla: Overture
Also sprach Zarathustra: Introduction
Symphonie Fantastique: March To The Scaffold
On The Beautiful, Blue Danube
The Firebird: The Palace Of Kashchei And His Enchantments Vanish - Dallas Symphony Orchestra

Tracks:

'Pictures at an Exhibition': Promenade
'Pictures at an Exhibition': Gnomes
'Pictures at an Exhibition': The Hut On Fowl's Legs (Baba Yaga)
'Pictures at an Exhibition': The Great Gate Of Kiev
A Night On Bald Mountain
'The Planets': Mars: The Bringer Of War
'The Pines Of Rome': The Pines Of The Appian Way
Pavan For A Dead Princess
The Sorcerer's Apprentice
'The Three-Cornered Hat': Dance Of The Miller's Wife
Scheherazade: Festival At Baghda; The Sea; The Ship Goes To Pieces Against A Rock Surmounted By A Bronze Warrior

Tracks:

Fanfare For The Common Man
'Appalachian Spring': Variations On A Shaker Melody
'Candide': Overture
'West Side Story': Suite: I Feel Pretty; Maria; Something's Coming; Tonight; One Hand, One Heart; Cool; America
Rhapsody In Blue
Adagio For Strings
'America': Variations
'Rodeo': Hoe-down
Pomp And Circumstance: March No. 1
'Gayane': Sabre Dance
'Lieutenant Kije': Troika
'The Love Of Three Oranges': March
'Hary Janos': The Viennese Musical Clock

Average customer rating:

Get this great Russian Music

Glinka-Orchestral Music From the Operas
Glinka , Evgeni Svetlanov , and USSR Symphony Orchestra
Manufacturer: Moscow Studio
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
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Glinka: Symphony; Spanish Overture; Music from Prince Kholmsky
Glazunov: The Sea; Oriental Rhapsody; Ballade; Cortège Solonnel
Glinka: Orchestral Works
Glazunov: The Kremlin, From the Middle Ages, etc.
Glinka: Grand Sextet in E flat; Rimsky-Korsakov: Piano and Wind Quintet in B flat

ASIN: B0002IQMPC
Release Date: 2004-09-07

Tracks:

Overture
Cracovienne
Mazurka
Waltz
Overture
In Nian's Castle
Turkish
Arab
Lezghinka
Chernomor's March
Andante Cantabile And Rondo

Album Description

Mikhail Glinka, the "father of Russian music" and a lyrical, refreshing Early Romantic, is surprisingly little known in the West, outside of one or two short orchestral pieces, principally the irresistibly energetic "Ruslan and Ludmila" overture. That concert favorite is joined here by a treasury of orchestral gems from various Glinka operas that are hardly ever staged outside of Russia. These historic recordings are from 1963 through 1990.

Customer Reviews:

Get this great Russian Music.......2005-02-10

I have eyed this CD many times as I already had a few of the selections but not all of them. I am a big fan of Russian Classical so I recently bit the bullet and bought the CD and it is well worth more than the $11 price.

Evgeni Svetlanov conducts with the USSR Symphony Orchestra and they are superb. In my opinion Svetlanov is the best Russian conductor. The pieces that I already had were better on this recording, and the pieces that I was missing are a great addition.

Everything is incidental music from Glinka's operas so there is no singers or chorus. I especially like the "Overture from Ivan Susanin" and "In Nian's Castle from Ruslan & Lyudmila". They are seldom heard but very melodic and colorful. They alone are worth the price of the CD. On the other hand the "Overture Ruslan & Lyudmila" is very over played (I have 5 recordings now) but this is an excellent version and so still enjoyable.

I suggest you get this CD.

Average customer rating:

Ivan Kozlovsky, the Great Russian Tenor

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
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Lebendige Vergangenheit: Sergei Lemeshev

ASIN: B00070DKS2
Release Date: 2005-02-22

Tracks:

Recitative And Aria Of Prince Sinodal (The Demon Rubinstein)
Recitative And Aria Of Prince Vladimir
Recitative And Aria Of Levko
Bayan's Second Song
Berendei's Cavatina
Song Of The Indian Guest
I Love You Olga
Whither, Whither, Lenski's Aria
The Prince's Cavatina
Scene By St. Basil Blazhenny Temple
Pimen's Monologue
Recitative And Romance Of Vladimir
Oh, Cease Thy Singing Maiden Fair

Average customer rating:

Tenors Of The Bolshoi

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B000000WT6
Release Date: 1992-12-23

Tracks:

Manon: The Dream
I Pagliacci: Harlequin's Serenade
Lohengrin: Lohengrin's Narrative
Songs And Dances Of Death: Field-Marshal Death
Sadko: Indian Guest's Song
Boris Godunov: The Simpleton Upbraids Boris
Romeo et Juliette: Ange Adorable
La Traviata: Parigi, o cara
Oh, Do Not Tempt Me With Nezhdanova
Oh, The Wind Blows Across The Fields
It Is Not The Wind Howling
Sorotchintsy Fair: Gritzko's aria
Eugene Onegin: Lensky's aria
In The Forest By The Front Line

Tracks:

Prince Igor: Vladimir's cavatina
Russian And Ludmilla: The Bayan's Song
Sadko: Indian Guest's Song
Dubrovsky: Dubrovsky's aria
Eugene Onegin: Lensky's arioso
Eugene Onegin: 'Quarrel' Scene
Eugene Onegin: Lensky's aria
Dunya The Weaver
The Queen Of Spades Entry Of Hermann...I Do Not Even Know Her Name
'Storm' aria
Forgive Me, Bright, Celestial Vision
Death Of The Countess
Hermann At The Barracks
Final Scene And Death Of Hermann

Average customer rating:

A Desert Island Disc: Wonderful!
Timeless. Priceless. Human. Historical. Sincere. Genuine,
Nice assortment of Glinka's orchestral works.

Glinka: Orchestral Works

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
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Bruch: The Complete Symphonies
Cui: 25 Preludes

ASIN: B000053HJX
Release Date: 2001-01-23

Tracks:

Capriccio Brillante: Spanish Ov No.1 'Jota Aragonesa': Grave - Allegro
Ov in D: Presto
Souvenir D'une Nuit D'ete A Madrid: Spanish Ov No.2: Allegro Moderato
Sym On Two Russian Themes: Largo - Andante - Allegro - Andante - Allegro - Con Spirito
Kamarinskaya: Moderato Ma Energico - Allegro Moderato
Ruslan And Lyudmila: Ov: Presto - BBC Phil/Vassily Sinaisky B
Ruslan And Lyudmila: Ste: Dance
Ruslan And Lyudmila: Ste: Chernomor's March
Valse-Fant - BBC Phil/Vassily Sinaisky B

Customer Reviews:

A Desert Island Disc: Wonderful!.......2006-05-19

Absolutely wonderful, by neglected by significant 19th C Russian composer.

Review below gives detailed analysis of the pieces.

The sound recording and playing is superb. The famous Jota is recorded with lovely precision: the harp is very clear, as needed.

Everything else is wonderful too.

Timeless. Priceless. Human. Historical. Sincere. Genuine, .......2005-11-12

This is a gem for people who are musically literate......meaning
that this CD is in your collection not because you were forced
to listen to it, or because it's fashionable, or because
you are a paid performer in music.

But, because of your global perspective of music, with
an open mind in terms of many styles, composers, and you
actually know what you like, and dislike in terms of music,
you spin this CD and .... become immersed in Russia's
historical or (perhaps erroneously?) stereotypical cultural
symphonic music.

For the literate, this is essential. For the illiterate,
don't waste your time. You'll never grasp this music, or
consider not doing whatever you like doing with your free time.

The CD opens up with some extremely Spanish-style pieces,
perhaps because the composer was fascinated with Spanish
culture, or perhaps because he his works at the time were
funded by a Spanish school of music, or admiror. Either way,
those are reminiscent of Rimsky-Korsakov's Spanish pieces,
such as Spanish Capriccio.

The CD's other numbers flow next not perflectly, although
the audio and overall instrumentation consistency does help
alleviate the abrubt contrast in stles.

Finally, Ruslan And Lyudmila closes the CD on this work,
which does prove to be more impressive and significant than
the previous numbers.

Nice assortment of Glinka's orchestral works........2001-02-04

This is the second CD containing Glinka's works for orchestra that was released within the past year. The first one featured Loris Tjeknavorin & the Armenian Philharmonic under ASV & was well reviewed, especially by Grammophone Magazine. This Chandos CD is most enterprising however, not using the bulk of the CD for extracts from The Life for the Tsar and Ruslan & Ludmilla, Glinka's two historically important operas. Instead, what we have is the Overture in D Major & the Symphony on Two Russian Themes along w/ other works usually recorded under one CD. Of 76 minutes total for this CD, only 23 minutes are devoted to the Overture & extracts of Ruslan & Ludmila (including the Dance of Act III, & Chernomor's March of Act IV), truly outside the norm when presenting Glinka's orchestral works on a single CD.

The Symphony (in one movement, six contrasting tempi) is a particular attraction, with a serious, melancholic Largo opening followed by a noble andante section. The Allegro section is jovial, however, with the following passages culminating into something of a exburance in the con spirito mode. The booklet essay, surprisingly, failed to mention that the Symphony was one of two symphonies Glinka began but never finished. It took until 1948 for the symphonies to be published in their final form, thanks to Vissarion Shebalin, who edited & orchestrated them. Shebalin's edition & orchestration were ingenious and realistic, not damaging the authenticity of Glinka's noble ideas, while keeping the essence of his writing fully intact.

The other works provide Glinka's use of folkmusic in diverse ways (except the well-written, passionate Valse-Fantasie). The Capriccio brillante on the Jota Aragonesa & the Souvenir d'une nuit d'ete Madrid (Memory of a Summer Night in Madrid) are excellent surveys of Spanish music Glinka absorbed and admired during his visits to Spain, while the Overture leans on the spirit of Rossini (& Glinka travelled to Italy quite extensively). The Kamarinskaya, Fantasy on Two Russian Folksongs, is appealing in his use of folklore music & rightly serve as among the testaments in the way folkmusic can be used in works especially in large scale form. Russian composers after Glinka, especially Dargomyzhsky, never continued their composing careers without learning & in some respects, enhancing Glinka's technique in the use of folkmusic.

The BBC Philharmonic under Vassily Sinaisky gave the works warm and sensitive renditions. Somehow, however, do I yearn for a greater sense of sonority & involvement especially in the Symphony. Svetlanov's recording of the Symphony & other Glinka's works (Melodiya/Chant du Monde-nla) has that Russian sonority and sparkle that's rewarding even on merits alone while Fedoseyev & the Tchaikovsky Russian Radio Symphony (Harmonia Mundi), though not blessed with the Chandos opulent sound, managed to capture the slavic layers, the Russian soul, behind these works.

Tracks:

Ruslan And Lyudmila: Overture
Ruslan And Lyudmila: Act One: No. 1 Introduction: 'Dela davno minuvsikh' (Chorus, Bayan, Farlaf, Ratmir, Svetozar, Rusland, Luydmila)
Ruslan And Lyudmila: Act One: Est' pustnnyi kraj (Bayan, Chorus)
Ruslan And Lyudmila: Act One: No. 2 Lyudmila's Cavatina: 'Grustno mne,k roditel' dorogoi!' (Lyudmila, Chorus)
Ruslan And Lyudmila: Act One: No. 3 Finale: 'Chada rodimye!' (Chorus, Ruslan, Ratmir, Farlaf, Svetozar)
Ruslan And Lyudmila: Act One: Chto sluchios: (Chorus, Ruslan, Ratmir, Farlaf, Svetozar)
Ruslan And Lyudmila: Act Two: No. 4 Entr'acte
Ruslan And Lyudmila: Act Two: No. 5 Finn's Ballad: Dobro pozhalovat', moi syn! (Finn, Ruslan)
Ruslan And Lyudmila: Act Two: No. 6 Duet Of Finn And Ruslan: Blagodaryu tebya, moi divnyi (Ruslan, Finn)
Ruslan And Lyudmila: Act Two: No.7 Scene And Farlaf's Rondo: Ya ves' drozhu' (Farlaf, Naina)
Ruslan And Lyudmila: Act Two: (Rondo) Blizok uz chas torzhestva moego (Farlaf)

Tracks:

Ruslan and Lydumila: Act Two: No. 8 Aria: O pole, pole! (Ruslan)
Ruslan and Lydumila: Act Two: Dai, Perun, bulatnyi mech: (Ruslan)
Ruslan and Lydumila: Act Two: No. 9 Scene With The Head: 'Kto zdes' bluzhdaet' (The Head, Ruslan)
Ruslan and Lydumila: Act Two: No. 10 Finale: The Tale Of The Head: 'Nas bylo dvoe, brat moi ya' (The Head, Ruslan)
Ruslan and Lydumila: Act Three: No. 11 Entr'acte
Ruslan and Lydumila: Act Three: No. 12 Persian Chorus: 'Lozhitsya v pole mrak' (Chorus, Naina)
Ruslan and Lydumila: Act Three: No. 13 Gorislava's Scene And Cavatina: 'Kakie sladostnye zvuki' (Gorislava)
Ruslan and Lydumila: Act Three: No. 14 Ratmir's Aria: 'I zhar, i znoi smenila nochi ten' (Ratmir)
Ruslan and Lydumila: Act Three: No. 15 Dances
Ruslan and Lydumila: Act Three: No. 16 Finale: 'O moi Ratmir! Ty zdes' opyat' (Gorislava, Ratmir, Chorus, Ruslan)
Ruslan and Lydumila: Act Three: Vityazi! Kovarnaya Naina: (Finn, Gorislava, Ratmir, Ruslan)

Tracks:

Ruslan And Lyudmila: Act Four: No. 17 Entr'acte
Ruslan And Lyudmila: Act Four: No. 18 Scene And Aria: 'Vdali ot milogo' (Lyudmila, Chorus)
Ruslan And Lyudmila: Act Four: Akh ty dolya, dolyushka: (Lyudmila, Chorus)
Ruslan And Lyudmila: Act Four: No. 19 March Of Chernomor
Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Turkish Dance (Allegretto)
Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Arabian Dance (Allegro con spirito)
Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Lesginka
Ruslan And Lyudmila: Act Four: No. 21 Chorus: 'Pogibnet, nezhdannyj prishlets!' (Chorus)
Ruslan And Lyudmila: Act Four: No. 22 Finale: 'Pobeda, pobeda, Lyudmila' (Ruslan, Gorislava, Ratmir, Chorus)
Ruslan And Lyudmila: Act Five: No. 23 Entr'acte
Ruslan And Lyudmila: Act Five: No. 24 Ratmir's Romance: 'Ona mne zizn', ona mne radost!' (Ratmir)
Ruslan And Lyudmila: Act Five: No. 25 Recitative And Chorus: 'Vsyo tikho!' (Ratmir, Chorus)
Ruslan And Lyudmila: Act Five: No. 26 Duet Of Ratmir And Finn: 'Chto slyshu ya? Lyudmila net?' (Ratmir, Finn)
Ruslan And Lyudmila: Act Five: No. 27 Finale: 'Akh ty svet, Lyudmila!' (Chorus, Svetozar, Farlaf)
Ruslan And Lyudmila: Act Five: 'Kogo nam bogi shlyut?' (Chorus, Svetozar, Farlaf, Ruslan, Lyudmila, Ratmir)
Ruslan And Lyudmila: Act Five: 'Slava velikim bogam!' (Chorus, Lyudmila, Ratmir, Ruslan, svetozar, Gorislava)

Amazon.com

This recording of Glinka's melodically marvellous but dramatically lacking fairy tale opera offers outstanding singing and conducting, a thoroughly idiomatic performance, and modern sound, all of which combine to make it the preferred edition. The only problem, and it's a minor one, is occasional intrusive noise from the house and stage--this is a live recording. For most listeners, the greater intensity of a live performance over a studio recording will overcome that objection. Anna Netrebko's Lyudmila is clear-voiced and winning; Vladimir Ognovienko has a typically back-of-the-throat Slavic production that is not a problem in this repertoire. Conductor Valery Gergiev offers one of his best performances in this series. --Sarah Bryan Miller

Customer Reviews:

A Very Spirited Performance.......2004-02-06

Like many people, I am familiar with the overture to Ruslan and Lyudmila but have never heard the opera. Mikhail Glinka's reputation as the father of Russian opera rests on just two works: A Life for the Tsar and Ruslan. Of the two, Ruslan is Glinka's masterpiece, but it was not recognized for what it was at its premiere in 1842. The lukewarm greeting poisoned Glinka's mind against writing another opera and it is said that he left Russian in disgust for Germany never to return. The orchestration is very colorful and vividly creates the mood of the story. Glinka included parts for piano, harp, tambourine, glockenspiel and glass harmonica.

Glinka poured all of his genius into this charming magic-opera, based on a mock epic by Pushkin. What makes the opera fun are the fantastic elements in the story with no less than three magicians trying to turn events in their favor. The story is a bit convoluted but here goes a synopsis: Lyudmila is about to be married to Ruslan when the sorcerer Chernomer abducts her. Ruslan, and two other former suitors Ratmir and Farlaf, set out to rescue her. A good sorcerer named Finn helps Ruslan and Farlaf, a cowardly knight, happens upon the sorceress Naina who agrees to help him defeat Ruslan. Ruslan himself has an adventure confronting an enormous head that is the brother of Chernomer that is guarding a sword that was predicted to be the weapon that would kill Chernomer. Ruslan kills the head and takes the sword. Naina attempt to Ratmir and Ruslan to her magic castle to kill them but she is thwarted by Finn who breaks her spell. Ratmir and Ruslan join forces to save Lyudmila. When Ruslan confronts Chernomer, Lyudmila, is put under a magic sleeping spell. Ruslan has no difficulty dispatching the wizard with the sword but the spell cannot be broken. The sleeping Lyudmila is adducted, yet again, by Farlaf, who is, likewise, unable to break the spell. Finn comes to the rescue by giving Ratmir a magic ring that wakens Lyudmila when it touches her. The opera ends with general rejoicing.

This recording of the opera by Valery Gergiev and the Kirov is a live performance, which lends some additional excitement to the action. The audience is quiet except for applause between the scenes and at the end of the acts. This is a dream cast with Anna Netrebko as Lyudmila, Vladamir Ognovienko as Ruslan, Galina Gorchakova as Gorislava, the lover of Ratmir, Larissa Diadkova as Ratmir and Konstantin Pluzhnikov as Finn. The Kirov Orchestra is simply superb in their energetic playing and beautiful phrasing. This is definitely an opera to have.

Perfect Ruslan!.......2002-12-31

As a country, we have been truly unfortunate when the proletariat such as moskvich came to power in 1917 and has effectively wiped out the intelligencia. Had it not been for people like this, the two theaters could enjoy a fruitful working relationship, utilizing the talent of Mariinskiy (Kirov) and the experience of Bolshoi. Truly a shame.
The recording at hand has much overlooked bass Vladimir Ognovenko as Ruslan and the talented and beautiful Anna Netrebko as Lyudmila. Ognovenko's bass at first would seem too sonorous for the role of youthful Ruslan, but he manages a fiery rendition of "Dai Perun mne mech bulatnyi" cabaletta where he shows that a bass can be cast in parts other than "dads, bads, and priests". This Ruslan also has the best Farlaf (cowardly knight) on record - Gennadiy Bezzubenkov. Ratmir is sang by Larissa Diadkova, whom Opera News rightfully calls The Enchantress. Even the supporting roles are done by great singers, e .g. Michail Kit as Vladimir, Lyudmila's father.
I would like to recommend folks who are relatively new to Russian opera to read a translation of Alexander Pushkin's poem prior to listening to the recording. You'll find the most fascinating aspect of it - Chernomor, the evil wizard is played by... the orchestra. Enjoy!

Vasiliy Nikolaevich Nikitskiy

Moscow is still the capital of Russian music.......2000-07-04

.... I would like to point out that the only good thing about this Leningrad version is the conducting of Gergiev, which is, by the way not better than Simonov's and especialy Kondrashin's. That is obvious, since Gergiev is an Osetian, and not a Slav in any way, and there is nothing worse than foreigners trying to uncover the Russian soul. Since the whole Mariinsky company has one bass, Bezzubenkov, they try to feature him in most recordings. There was a very good singer from Kazakhstan, Bulat Minzhelkiyev, but he died a few years ago. Ognovenko, who without question is much more a baritone than bass, sounds not like Ruslan, but more like Liudmila's great-grandfather, since every time he opens his mouth, we get an impression that we hear a ninety year old. Without question, for him the best role to sing would be Pimen is Boris Godunov. Netrebko, who looks very well, and is, without question a very charming girl, just can not fully understand Liudmila's character. She sing all right, but her acting skills are far from the level of her Moscow collegues. On the other hand, the character roles are sung very well by Pluzhnikov, who can't help sounding a little like Shuiskiy, and Bogachova. Gorchakova, one of the most over-rated singers in the world today, is nothing compared to Vishnevskaya, Milashkina, Kasrashvili and Kalinina. The Gorislava of Nina Fomina on the Bolshoi version is far better. When you listen to this version, you get an impression, that you are listening to a very bad Russian-language version of a mixture of Mozart and Rossini. All of the singers on this set lack the russian "matalic" vibrato. In fact, this sounds like cheao Italian bel-canto. The truth is, the modern Kirov is a theater of one conductor. Unfortunately, after the so called democrats got control over power in the country, the Bolshoi lost a lot of money, which he got from the cultural communist, and a coucasian businessman known as Gergiev quicly invited some singers to his theater and took them a few trips abroad. The Bolshoi singers are even now on a higher level. As I said earlier, the Kirov does not have good basses - Bolshoi has Nesterenko, Matorin, Glubokiy, Mikhailov and Nizenko. The only worthy baritones in Lenngrad are Putilin and Gerello, while Moscow has Redkin, Bukin, Vedeneyev, Murzayev and Nechayev. The tenors in the Kirov are not that bad - they have Galuzin, Marusin and the young Akimov, but the Bolshoi has Tarashenko, Maisuradze and a very young Andrey Dunayev, and of course Zurab Sotkilava still appears on the stage. If you are interested at the real jewels of Russian vocal music, buy the "Russian Season" Bolshoi recordings.

RUSSIAN BELCANTO!.......2000-04-24

What a fantastic recording. I love Russian opera...and this recording marks the 11th in my Russian opera series...and is quite different. I was quite shocked...after all Glinka was the father of Russian opera. Although it laid the foundations for Tchaikovsky, Moussorgsky, Rimsky-Korsakov, Borodin, Prokofiev, etc...it is much different from their works.

This is Belcanto, something I was not expecting- exciting and beautiful...you can definitely hear the Donizetti influence here. Even Bellini and Rossini. Quite thrilling in fact. Very entertaining...one wonderful melody after another....glorious. Music is beautiful, cast is wonderful. You just can't go wrong with Gergiev at the helm of the Kirov.

Most recommend in the Russian canon, along with Boris Godounov and Lady Macbeth of Mtsenk!

The recording giving "Ruslan &Ludmilla" greater justice!.......1999-12-01

After Mikhail Ivanovich Glinka enjoyed the success of his first opera "A Life for the Tsar"(1836), he set himself upon his next opera "Ruslan and Ludmilla" by 1838 (the opera based on Alexander Pushkin's mock-epic story). The score was finished by 1842 and the premiere took place on November 27th of that year. Unlike the premiere of "A Life for the Tsar", the premiere of "Ruslan and Ludmilla" generated more of a mixed response from the audience and critics. Whereas some praised Glinka's use of Russian and Caucasian folk music and his vivid and imaginative orchestration, others criticized the work's lack of drama.

"Ruslan and Ludmilla" became a very important work for the next generation of composers, however. Tchaikovsky called the work "the tsar of operas" whereas Mily Alexeyevich Balakirev and his group (the Russian Five or Moguchaya Kuchka) used the opera in advocating the essence of nationalism in writing Russian music. Balakirev effectively pointed out the orientalism in "Ruslan and Ludmilla" in furthering the cause against western cosmopolitanism. In fact, "Ruslan and Ludmilla" was Balakirev's bible and generations of composers after the 1880s understood the importance of Glinka's work for the sake of Russian art thanks largely to Balakirev (although "A Life for the Tsar" was the first to use Russian folksongs).

Amazingly, compared to "A Life for the Tsar", "Ruslan and Ludmilla" took more of a back seat. Whereas the former was recorded on six occassions, the latter received only three. The 1952 recording featuring Kyrill Kondrashin and the Bolshoi was the first complete recording of the score. "Ruslan and Ludmilla" had to wait for another 31 years for another recording (of Yuri Simonov and the Bolshoi in the 1983 performance) and another 12 years for yet another one (Gergiev and Kirov in the 1995 production). Only Simonov made minor cuts in the Melodiya/BMG recording while Gergiev (like Kondrashin) remained totally faithful to the full edition of the score.

As for the performance, Gergiev and the Kirov Orchestra and Chorus played with excitement and vividness, although the orchestra could have performed with greater emotional zest. Only Kondrashin and the Bolshoi placed more charge and energy in their production while Simonov was not terribly far behind. Anna Netrebko probably was the best Ludmilla currently on record while Vladimir Ognovienko (in Ruslan) gave the character more of a purpose (in finding the abducted Ludmilla). Irina Bogachova (as Naina) and Galina Gorchakova (as Gorislava) sang with warmth and intimacy with such profesionalism and admiration for Glinka's fantastical score (as with the rest of the cast).

Kondrashin/Bolshoi recording (re-issued briefly by Voce della Luna label (VL 2006-3)under Jem Music Corporation from the original Melodiya recording) is by far the best recording currently available. The steller cast of great singers included Ivan Petrov (Svetosar), Firsova (Ludmilla), Georgi Nelepp (Ruslan), and Lemanshev (Ratmir). The Kondrashin and the Bolshoi gave the more enticing and provocative performance and the singers sang with marginally a greater sense of passion and polish than the other two recordings of Glinka's "Ruslan and Ludmilla."

The Philips recording is highly recommendable, but the Kondrashin/Bolshoi recording takes first place.

Ruslan & Lyudmila
Average customer rating:

By far the best

Ruslan & Lyudmila
Glinka , Firsova , Petrov , Nelepp , and Kondrashin
Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
ASIN: B000CCU8DK
Release Date: 2006-02-28

Customer Reviews:

By far the best.......2007-01-09

By far the best version. Forget the Gergiev. You have the Firsova's voice and the master Kondrashin. Nothing could be better. The sound is quite good.

I love this opera. I just love it mre even than Ivan Susanin (A life for the tsar)

Average customer rating:

Chaliapin, the great Russian singer actor.
A Chaliapin feast

Chaliapin: A Vocal Portrait

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

General | Folk | Styles | Music
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Prima Voce: Chaliapin

ASIN: B00006RHPA
Release Date: 2003-01-21

Customer Reviews:

Chaliapin, the great Russian singer actor. .......2004-08-23

Born in the same year as Caruso and attracting the wild acclaim that used to be accorded to opera singers, Feodor Chaliapin is now featured in the Naxos "Great Singers" series. A selection of his acoustic recordings (1902-1924) occupy the first CD and a selection of his electric recordings (1926-1936), and in charge of restoration is Ward Marston.

Like Caruso, Chaliapin had a huge voice that nevertheless proved eminently compatible with acoustic recording processes. Indeed, collectors need not be deterred by the age of many of these recordings. Some of the very best items, whether opera or song, fall into the acoustic group. The 1911 recordings of Rubinstein's "Demon" excerpts, which I heard a few times many years ago and have never forgotten, are amongst the best of all in this entire selection.

Also like Caruso, Chaliapin's recording career owed much to producer Fred Gaisberg who, in his autobiography, allotted a whole chapter to this great singer. In recent times, eminent critic John Steane has named Chaliapin as one of the two or three great singer actors of the C20th. Gaisberg was responsible for recording the Prayer and Death of Boris during an actual performance of "Boris Godunov" at Covent Garden in 1928. Perhaps this best indicates Chaliapin's work as singer and actor. Another successful item here is the `Le veau d'or' from "Faust", which one critic has judged ideal for showing Chaliapin's special magnetism.

The notes provide an informative survey of Chaliapin's recording output. One error is the attributing some of the orchestral support in the recordings from the 1920s to the London Philharmonic Orchestra, and orchestra which was founded by Beecham in 1932.

A Chaliapin feast.......2003-02-14

It's nice of Naxos to collect in one place some of the most representative recordings of the great Russian basso, Fyodor Chaliapin. This is a 2CD set; the first CD is from the acoustic era of recording, the second from the electrical era. Not only are the expected arias and songs from the Russian literature represented, but also there are more than a few Italian/French/German selections.

There are two scenes from 'Boris Godunov': Varlaam's Song and the Farewell and Death of Boris. Three versions of Mussorgsky's 'Song of the Flea', from 1907, 1929 and 1936 (the latter his last recording) are included, all of them marvelous. Other highlights, made all the more effective by Chaliapin's amazing ability to act with the voice, are 'La calunnia' from 'The Barber of Seville' and 'Le veau d'or' from Gounod's 'Faust.' I also liked 'Chanson Bachique' by Glazunov, which I'd never heard before.

The sound is fantastic, the wizardry of Ward Marston who, along with Mark Obert-Thorn, is involved with Naxos's extensive re-issue of treasures from the history of the recorded voice.