Mussorgsky: Khovanshchina
Nicola Ghiuselev (bass), Dimitar Petkov (bass), Todor Kostov (tenor), Alexandrina Milcheva (mezzo-soprano), Maria Dimchevska (soprano), Najejda Dobrianova (soprano), Ljubomir Bodourov (tenor), Dimiter Dimitrov (bass), Stoyan Popov (baritone), Verter Vrachovsky (tenor), Milen Paounov (tenor), Stefan...
Margaritov draws a finely detailed performance from the Sofia National Opera Orchestra. The singing is pretty good too...But the real test of a great Khovanshchina is its electrifying last act....
Mussorgsky: Khovanshchina
Nicola Ghiuselev (bass), Dimitar Petkov (bass), Todor Kostov (tenor), Alexandrina Milcheva (mezzo-soprano), Maria Dimchevska (soprano), Najejda Dobrianova (soprano), Ljubomir Bodourov (tenor), Dimiter Dimitrov (bass), Stoyan Popov (baritone), Verter Vrachovsky (tenor), Milen Paounov (tenor), Stefan...
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Margaritov draws a finely detailed performance from the Sofia National Opera Orchestra. The singing is pretty good too...But the real test of a great Khovanshchina is its electrifying last act....
About
orch. Rimsky-Korsakov
Artists
Nicola Ghiuselev (bass), Dimitar Petkov (bass), Todor Kostov (tenor), Alexandrina Milcheva (mezzo-soprano), Maria Dimchevska (soprano), Najejda Dobrianova (soprano), Ljubomir Bodourov (tenor), Dimiter Dimitrov (bass), Stoyan Popov (baritone), Verter Vrachovsky (tenor), Milen Paounov (tenor), Stefan Elenkov (bass), Nedelcho Pavlov (bass)
Sofia National Opera Orchestra, Bulgarian National Svetoslav Obretenov Choir, Atanas Margaritov
Contents and tracklist
- Nicola Ghiuselev (bass), Dimitar Petkov (bass), Todor Kostov (tenor), Alexandrina Milcheva (mezzo-soprano), Maria Dimchevska (soprano), Najejda Dobrianova (soprano), Ljubomir Bodourov (tenor), Dimiter Dimitrov (bass), Stoyan Popov (baritone), Verter Vrachovsky (tenor), Milen Paounov (tenor), Stefan Elenkov (bass), Nedelcho Pavlov (bass)
- Sofia National Opera Orchestra, Bulgarian National Svetoslav Obretenov Choir
- Atanas Margaritov
Awards and reviews
January 2012
Margaritov draws a finely detailed performance from the Sofia National Opera Orchestra. The singing is pretty good too...But the real test of a great Khovanshchina is its electrifying last act. Margaritov builds the tension effectively: you can sense the advance of the tsar’s army in the way the marching theme becomes more insistent and the trumpets louder. But the final, horrifying immolation scene fails, as it were, to catch fire.