LSO Live
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Gergiev paces and balances [the opening's] unfolding finely, from halting start via macabre climax to nostalgic fade-out. The ensuing Landler movement duly comes as a shock as Mahler doubtless... —
Awards:
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Presto Recording of the Week, 5th September 2011
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Special offer. Berlioz: Roméo et Juliette, Op. 17
RecommendedOlga Borodina (mezzo-soprano), Kenneth Tarver (tenor), Evgeny Nikitin (bass)
London Symphony Orchestra, London Symphony Chorus & Guildhall School Singers, Valery Gergiev
Gergiev, in this live account, inclines towards operatic fire and pace, occasionally headlong, but with a clarity and hushed, atmospheric pianissimo finely captured by the spacious SACD recording. —
Awards:
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Presto Recording of the Week, 8th July 2016
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Berlioz: Grande Messe des Morts, Op. 5 (Requiem)
Barry Banks (tenor)
London Symphony Orchestra, London Symphony Chorus & London Philharmonic Choir, Sir Colin Davis
The St Paul's acoustic is something to be reckoned with...and it is striking to observe how careful Davis is to allow for the famous echo...There's some lovely orchestral detail...The chorus... —
Awards:
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Gramophone Magazine, June 2013, Editor's Choice
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Bernstein: Wonderful Town
RecommendedBonus Track Version
Alysha Umphress (soloist), Kevin Brewis (soloist), Flora Dawson (soloist), Nathan Gunn (soloist), Stephen John Davies (soloist), Danielle de Niese (soloist), Sophia Foroughi (soloist), Duncan Rock (soloist), Ashley Riches (soloist), Jane Quinn (soloist), David Butt Philip (soloist), Andrew Keelan...
The standout performer is Alysha Umphress as Ruth: she brings oodles of no-nonsense sassiness to arguably the show’s best-known number, One Hundred Easy Ways to Lose a ManThere’s no doubting... —
Awards:
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Presto Recording of the Week, 14th September 2018
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What Sir Colin Davis has to say about Sibelius's Second Symphony hasn't changed in substance since his first recording with the Boston Symphony (Philips), but the paragraphs now flow with ever... —
Awards:
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Building a Library, January 2013, First Choice
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This thrillingly combustible account easily holds its own in the most exalted company. Davis's is a patient, noble conception, yet lacking absolutely nothing in thrusting drama, freshfaced character... —
Awards:
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Gramophone Magazine, April 2002, Editor's Choice
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Gergiev's frequent use of striking contrasts of tempos between themes, or even dramatic pauses, as in the slow movement, often makes Tchaikovsky's First sound like a close relation to a Bruckner... —
Awards:
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Presto Recording of the Week, 17th September 2012
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Gergiev has the sensibility to put on the pressure and to foster flexibility as the natural contours of the music demand...[He] has a feel for the romantic urgency of the music as well as its... —
Awards:
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Gramophone Magazine, August 2010, Editor's Choice
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For anyone who wants first-rate stereo sound and a broadly traditional reading, it is hard to imagine more profoundly satisfying accounts than these. The playing of the LSO is nowadays quite... —
Awards:
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Gramophone Magazine, August 2006, Editor's Choice
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This is an exceptional performance which, despite the unyielding acoustics of the Barbican, held me spellbound from the mysterious violin tremolo of the first bar to the glorious affirmation... —
Awards:
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International Classical Music Awards, 2024, Nominated - Symphonic Music
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