[SACD-R][OF] Mikhail Pletnev, Russian National Orchestra - Tchaikovsky: Symphony No. 5, Francesca da Rimini - 2011 (Classical)

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Mikhail Pletnev, Russian National Orchestra
Tchaikovsky: Symphony No. 5, Francesca da Rimini

Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2011
Жанр: Classical
Издатель(лейбл): PentaTone
Продолжительность: 01:11:20
Наличие сканов в содержимом раздачи: Да
1. Andante – Allegro con anima 14:48
2. Andante cantabile, con alcuna licenza 13:55
3. Valse : Allegro moderato 5:43
4. Finale : Andante maestoso – Allegro vivace 12:22
5. Francesca da Rimini, Op.32 (1876)
Fantasy for orchestra after Dante 24:30
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.0; 2.0
Доп. информация: Recorded June 2010, DZZ Studio 5, Moscow
Источник (релизер): jasondonovan (PS³SACD)
Оркестр: Russian National Orchestra
Дирижер: Mikhail Pletnev

Об альбоме (сборнике)

In any event, the performance has nothing of the routine about it, and overall there’s a feeling of freshness that’s hard to instill in a warhorse such as this…… I would place this Francisa among the best performances I’ve heard…. I’ll certainly be waiting for further releases in this series.
–Lee Passarella, Audiophile Audition
In a continuation of his new Tchaikovsky cycle for PentaTone, Pletnev and his Russian National Artist deliver an outstanding performance of this great masterpiece.
–Richard Foster, HiFi+magazine
A recording to savour, although it may not be to everyone’s tastes.
Firstly it should be noted that both the works presented here face stiff competition: Gergiev’s electrifying account of the symphony with the VPO on RBCD and Tchaikovsky: Serenade for Strings, Francesca da Rimini – Stokowski for Francesca da Rimini on SACD. Those harbouring a soft spot for either of these will not necessarily displace these but this disc is certainly a good alternative, especially if the pairing suits. As a micro-comparison, this far outshines Tchaikovsky: Symphony No. 5, Romeo & Juliet – Gatti where the playing is driven far beyond the RPO’s ability to play it as a collective ensemble successfully.
The first movement is paced in a remarkably similar way to Gergiev but here the Russian National Orchestra, aided by studio recording conditions (and not using the main concert hall of the Salzburg Festival), far outshine their Viennese rivals in both lustrous tone but also details that can come off away from the white heat of concert performances. Some who find Gergiev’s dynamic range too extreme will take comfort from the marginally tempered ones adopted by Pletnev (but this is by no means a flattening out of contrasts).
The slow movement has some delicious horn vibrato applied, gorgeous rich string tone and a thrilling section made all the more dramatic in comparison with Gergiev for Pletnev allows the slower sections to be marginally more relaxed. This points up the difference in a slightly quicker Allegro non troppo even more than it would have otherwise done – whatever the technicalities, the effect makes ones pulse race. The Waltz is taken at a conventional speed but unlike many at such a tempo, the RNO find space around even the quickest of notes. Here perhaps more than any movement, the divided violins pay enormous dividends and the dancing of the semi-quavers around the orchestra is a joy to the ears.
The finale has a very dramatic introduction that doesn’t climax too soon and leaves room for the excitement that follows in the Allegro vivace. Here Pletnev almost eclipses Gergiev but for one fateful decision of including a relatively ponderous Molto vivace section (some 20% slower than Gergiev) – the forward momentum is lost and although the orchestra works hard to recover, it just isn’t “there”. The final dash and the majestic presentation of the main melody for the last time both feel strangely inhibited – as if Pletnev felt he was conducting a ballet rather than a symphonic work.
The Francesca da Rimini receives very different treatment from Pletnev than from Stokowski (as one may well expect!) At first, it seems that Pletnev is purposefully eschewing the drama and bite that makes Stokowski’s account so exciting. Examining the score however reveals that Pletnev is far better at getting the RNO to observe Tchaikovsky’s markings than Stokowski asked the LSO in the era of quad. Instead what Pletnev offers is slow burn intensity which works remarkably well on repeated listening so that when the big climaxes do arrive, they are overwhelming and teeming with adrenalin. The central section has no lack of ardour or sensitivity and the transitions into and out of this episode are very well handled. Outstanding playing and conducting.
The recording is fully up to the best of Pentatone’s house standard; rich, detailed with marvellously good placing of all the instruments that build up to a coherent and cohesive sonic picture.
Strongly recommended despite the slightly disappointing end to the symphony.
–By Polynomial, SA-CD.net

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