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Anyone who has been searching for a powerful rendition of Pyotr Il'yich Tchaikovsky's Swan Lake, Op. 20, should consider this dynamic performance by Valery Gergiev and the Orchestra of the Mariinsky Theatre, undoubtedly one of the most forceful available, and perhaps one of the very best, notwithstanding one idiosyncrasy that must be directly addressed.

As a composer of orchestral music, Alexander Scriabin is best known for his last two idiosyncratic symphonies, the Poem of Ecstasy and Prometheus: The Poem of Fire, which are essentially symphonic poems, not symphonies in the conventional sense. The Symphony No. 1 (1900) and the Symphony No. 2 (1901), however, are more recognizable as symphonies in their multiple-movement forms, and their durations are comparable to the expansive symphonies of Scriabin's contemporary, Gustav Mahler. They also share the post-Romantic tendency toward Wagnerian harmonies, rhapsodic melodies, and lush orchestration, which, in Scriabin's case, were developed to express heightened emotional states and mystical transcendence. This 2016 double SACD by Valery Gergiev and the London Symphony Orchestra presents each of the symphonies on its own disc, and the high-quality multichannel sound is ideal for bringing across the subtle nuances of tone color and the shifting of dynamics that are characteristic of his style.]

In this first volume of Alexander Scriabin's symphonies on the LSO Live label, Valery Gergiev and the London Symphony Orchestra begin in media res with the Symphony No. 3, "Le Divin Poème," and the Le Poème de l'extase, which is unofficially counted as the Symphony No. 4. These works date from Scriabin's middle period (ca. 1902-1908), which marks a transition from his youthful Romantic phase to his final visionary works. The Symphony No. 3 reflects a lingering attachment to the symphonic conventions which influenced Scriabin's first two symphonies, particularly in its three-movement structure and relatively clear tonal scheme, though it already hints at the organic development and greater harmonic complexity of the single-movement Le Poème de l'extase, which strains the boundaries of form and key. These effusive works demand a calculated control that may seem at odds with their volatile and languorous expressions, though Gergiev and the London Symphony Orchestra deliver the music with rhythmic precision and focused tone colors to bring across Scriabin's kaleidoscopic soundworld with brilliance.

Valery Gergiev directs the Kirov Opera and Ballet in this dramatic staging of Tchaikovsky’s historical opera, based on Pushkin’s verse tale of the legendary Cossack chieftain. Tchaikovsky’s dark musical setting intertwines the political drama of Mazeppa’s ill-fated betrayal of the Tsar with the personal tragedy of his love for Maria, the young daughter of his hapless opponent, Kocubej.

Originally composed to celebrate Pushkin’s centenary, the full title of the work - The Tale of Tsar Saltan, of His Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich, and of the Beautiful Princess-Swan - is indicative of the fantastical content of the opera. It is an old-fashioned Russian treat for the eyes and the ears from the country’s most long-standing musical institution. Filled with colourful music that is typical of Rimsky-Korsakov’s style, it is the origin of the instantly recognisable Flight of the Bumblebee, which arrives when the magic Swan-Princess changes Prince Gvidon Saltanovich into an insect.

In the original St. Petersburg version of 1862. Giuseppe Verdi’s drama of love and destiny in times of war remains one of the best–known operas by this Italian master. In the „Milan version“ of 1867, it has become an essential part of the repertoire of great opera houses, both in Europe and further afield. This DVD video recording, however, is quite distinct from the numerous other recordings currently available: the conductor Valery Gergiev has used the rarely–heard original 1862 version, composed for St. Petersburg, and containing wonderfully dramatic scenes and arias later deleted from the „Milan version“. And furthermore, the stage–set for this 1998 live recording in the Marinisiky Theatre recreates the original designs produced by Andreas Roller for the St. Petersburg premiere over 130 years ago.

Daniil Trifonov, winner of the XIVth International Tchaikovsky Competition, is probably the world’s most exciting young pianist. On his first Mariinsky recording he joins Valery Gergiev for a scintillating performance of Tchaikovsky’s Piano Concerto No 1. Daniil also presents a selection of recital repertoire including music by Tchaikovsky, Chopin and Liszt transcriptions of Schubert and Schumann.

Modest Mussorgsky's opera in prologue and four acts is performed by the Kirov Opera with performances from Olga Borodina, Alexei Steblianko and Sergei Leiferkust. Boris Godunov has obtained the throne of Russia by murdering the rightful heir Dmitry. An old monk, Pimen, witnessed this, and convinces his apprentice Grigory to avenge Dmitry's death. In the following years Grigory poses as Dmitry, raising an army against Boris, who is now convinced that he is being punished for the murder.

Valery Gergiev directs the Kirov Opera and Ballet in this magnificent 1998 production of Borodin’s "Prince Igor", presented in a new Mariinsky Theatre performing edition and featuring Mikhail Fokine’s original choreography in the famous Polovtsian Dances. Its four acts tell of the struggle between the Russians and Polovtsian nomads, of Prince Igor’s capture and escape from his noble opponent, Khan Konchak, and of love between Igor’s son, Vladimir, and Konchak’s daughter, Konchakovna.

In terms of vocal power, lyrical beauty and idiomatic authenticity, the casting for this 1992 live recording of the Kirov production of Pique Dame ("The Queen of Spades") could hardly be bettered. Gegam Grigorian (Herman) hits his fearsome, anguished high notes with the accuracy of a laser and Maria Gulegina (Liza) has a voice the size of the QEII but uses it with great subtlety–her opening duet with Pauline floats like gossamer, and her declarations of love for Herman at the end of Act 1 are spine-tingling. Kirov superstars Sergei Leiferkus (Tomsky) and rich-toned Olga Borodina (Pauline) also sound divine.