Gianandrea Noseda Rachmaninov series
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Rachmaninoff: The Miserly Knight, Op. 24
Ildar Abdrazakov (bass), Misha Didyk (tenor), Sergey Murzaev (baritone), Peter Bronder (tenor) & Gennadi Bezzubenkov (bass)
BBC Philharmonic, Gianandrea Noseda
..Gianandrea Noseda, masterly at pacing and responsive to orchestral colour… Ildar Abdrazakov, certainly the finest bass voice to emerge from Russia in decades. …the performance exerts a fierce,... —
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Special offer. Rachmaninoff: Aleko
RecommendedSergey Murzaev (Aleko), Evgeny Akimov (Young Gypsy), Gennady Bezzubenkov (Old Man), Svetla Vassileva (Zemfira)
BBC Philharmonic & Coro del Teatro Regio di Torino, Gianandrea Noseda
Gennady Bezzubenkov declaims powerfully as the Old Gypsy, and Evgeny Akimov is elegant in his short cavatina. The chorus, from Turin's Teatro Regio, supplies suitably languid tone. —
Awards:
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Presto Favourites, Recommended Recording
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Special offer. Rachmaninoff: Francesca da Rimini
Svetla Vassileva (Francesca), Misha Didyk (Paolo), Sergey Murzaev (Lanciotto), Gennady Bezzubenkov (Ghost of Virgil) & Evgeny Akimov (Dante Alighieri)
BBC Singers & BBC Philharmonic, Gianandrea Noseda
This is an excellent way of coming to know a flawed but interesting piece of Rachmaninov, and it is much helped by excellent presentation from Chandos. —
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Rachmaninov's First Symphony of 1895... published only after the composer's death. Gianandrea Noseda and the BBC Philharmonic have the work's measure and their performance has a full-blooded... —
Awards:
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BBC Music Magazine, July 2008, Orchestral Choice
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Noseda's unexpected and very welcome use of rubato reveals the drama of the opening exposition, making the music sound purposeful rather than a Hollywood-style wallow. —
Awards:
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Building a Library, March 2016, Also Recommended
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Rachmaninov: The Bells, Spring & Three Russian Songs
Svetla Vassileva (soprano), Misha Didyk (tenor) & Alexei Tanovitski (bass)
Chorus of the Mariinsky Theatre & BBC Philharmonic, Gianandrea Noseda
The Mariinsky's strongest suit is probably its distinctly Russian tone...Alas, the dramatic engagement one might have expected from an opera chorus is here virtually nonexistent...The Bells... —
