Dvd
Tavener: Choral Ikons (The Choir) (NTSC)
The Choir (Choir); James Whitbourn (Conductor);
"The power of the performances is overwhelming and the credit goes to James Whitbourn and his vocal ensemble The Choir that he created for the express purpose of television and DVD recordings for Opus Arte. The Choir sing Taveners music with great understanding and sensitivity to the religious texts. This DVD captures every beauteous moment of Taveners music with The Choir. Opus Arte, as in all their productions, never leave you second-guessing about the music with their investigative extra features that bring further insight upon the chosen subject...The ikon chooses you which, together with an illustrated booklet containing an in-depth article on the inspirational power of ikons as well as the vocal texts and an introduction by Tavener himself, round off this beautifully presented package." (The Organ)
Tavener: Choral Ikons (The Choir) (PAL)
The Choir (Choir); James Whitbourn (Conductor);
"The power of the performances is overwhelming and the credit goes to James Whitbourn and his vocal ensemble The Choir that he created for the express purpose of television and DVD recordings for Opus Arte. The Choir sing Taveners music with great understanding and sensitivity to the religious texts. This DVD captures every beauteous moment of Taveners music with The Choir. Opus Arte, as in all their productions, never leave you second-guessing about the music with their investigative extra features that bring further insight upon the chosen subject...The ikon chooses you which, together with an illustrated booklet containing an in-depth article on the inspirational power of ikons as well as the vocal texts and an introduction by Tavener himself, round off this beautifully presented package." (The Organ)
Tavener: Fall and Resurrection (BBC Singers)
Patricia Rozario (Soprano); Michael Chance (Counter-tenor); Martyn Hill (psaltis); Adrian Peacock (Voice of God/Christ/Devil); Stephen Richardson (Bass);
"Although one can never fully capture the atmosphere of a live performance, this DVD...brings you as close as you can get. Indeed for a piece of music that largely consists of a series of grand effects perhaps it is even in some way enhanced on DVD. The vast architecture and acoustics of St Pauls Cathedral are exploited to the full in a colourful kind of son et lumiére which is well captured by intelligent camera work and very clear surround sound. There are some wonderful aural effects; for example, the thundering climax of the final Cosmic Dance of the Resurrection, with full organ and peal of Easter bells, is quite overwhelming...This is a well presented collectors edition, providing everything possible to increase the listeners appreciation of the piece." (Choir & Organ)
Tchaikovsky: Cherevichki (The Tsarina's Slippers) (The Royal Opera)
Larissa Diadkova (Solokha); Maxim Mikhailov (The Devil); Vladimir Matorin (Chub); John Upperton (Panas); Olga Guryakova (Oxana); Vsevolod Grivnov (Vakula);
"Its pretty as a picture, no question - an animated pop-up book of naïve and colourful charm." (The Independent)
Tchaikovsky: Eugene Onegin (De Nederlandse Opera)
Bo Skovhus (Eugene Onegin); Krassimira Stoyanova (Tatjana); Andrej Dunaev (Vladimir Ljenski); Mikhail Petrenko (Vorst Gremin);
"Put too much steam into Tchaikovskys score and it wilts. Be too shy and retiring, on the other hand, and the tragic momentum evaporates. Jansons sets us on a simmer and gradually turns the heat to boiling. It is magisterially paced, stunningly played and, seemingly effortlessly, Jansons captures every aching nuance. [ ] Herheimsinnovations are often throbbingly acute (and sometimes wickedly funny)." (The Times)
Tchaikovsky: Eugene Onegin (The Royal Opera)
Simon Keenlyside (Eugene Onegin); Krassimira Stoyanova (Tatyana); Elena Maximova (Olga); Pavol Breslik (Lensky); Diana Montague (Madame Larina); Peter Rose (Prince Gremin);
"Simon Keenlyside in the title role brings virility to the unpleasant, usually buttoned-up hero. You can see why the teenaged Tatyana might fall for him, even if he is on the mature side. This Onegin delights in being louche, playful, arms folded, casual rather than stiff. He sings with flexibility, expression and, most of the time, a golden tone, suggesting more capacity for emotion than is usually evident: even brutes have their decent qualities." (The Observer)