“Playing of exemplary clarity of detail… the Royal Liverpool Philharmonic Orchestra is on a roll.”
Since taking up his post as Principal Conductor, Vasily Petrenko has galvanized and transformed the artistic profile of the Royal Liverpool Philharmonic. HarrisonParrott works closely with the Orchestra on their international touring profile and strategy. Their tours have included projects in Spain, France and Germany and their debut visit to China in 2010 (including concerts in both Shanghai and Beijing). The 2014/15 season included the orchestra’s debut tour of Japan with soloist Nobu, to celebrate their 175th anniversary, as well as tours to the Czech Republic and the Enescu Festival. They have since toured to Japan on a regularly with Nobuyuki Tsujii.
“The Liverpool orchestra give a magnificent performance of Thomas Adès’s Violin Concerto, moving dramatically from the bright, penetrating sonorities of the opening movement to the sinister, almost brutal environment of the much longer central movement.”
(Duncan Druce, Gramophone)
“This is Petrenko’s best recording to date. Without stretching the tempo, indulging in sentiment or clogging the textures, he captures the full romantic flavour of this glorious symphony. The melodies sing. Petrenko adds ever-so-subtle portamento, completely within the style of the music, and the Royal Liverpool Philharmonic again proves itself the best interpreter of Russian music outside Russia.”
“… They have never seemed more sumptuous than in the long melodies of the central adagio, and their brilliant articulation of virtuoso allegro passages at Petrenko’s fast tempi brings exhilarating dividends. In this magnificently played account, the stature of the music of the music is never in doubt.”
“In the Third Symphony, which finds Rachmaninov wistfully recalling the Russia he left after the October Revolution, Petrenko and the RLPO also identify the zest, the orchestral lucidity and the rhythmic thrust that marked the composer’s later years. An exhilarating performance. The Caprice bohémien and the Vocalise, at opposite poles in expressive intent, are handled with equal, compelling adroitness.”
“…The RLPO’s sense of attack carries all before it and the eerie Adagio is traversed with subtlety and finesse. This symphony might not be top-drawer music but by treating it seriously, rather than as the soundtrack for a Bolshevik newsreel, Petrenko and the RLPO do Shostakovich a big favour.”
“Petrenko’s thrilling performance plays…there is expressive depth in the adagio…The RLPO woodwinds excel themselves in these gripping readings.”
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