Yuri Honig

This 2007 production from the Teatro Regio di Parma is conducted by Yuri Termirkanov. He has appeared with many leading orchestras including the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Royal Concertgebouw Orchestra and La Scala.
"Do we really need another Traviata? Yes! Emphatically Yes! This one! The production by Karl-Ernst Herrmann is lavish. Each act has its individual color. Costumes, also by Herrmann, are period lavish. Staging by Karl-Ernst and Ursel Herrman is rich in detail." - American Record Guide

For those who have yet to delve into Yuri Gagarin's work, this is a Swedish instrumental space rock group that quickly managed to assemble a loyal underground following from the moment their self-titled debut was released in 2013. The band's formula isn't very intricate, relying instead on the huge atmosphere the instruments create. Also, repetition is essential in this type of music, as it manages to induce you in a lovely trance, while they work wonders.
Two years later, Yuri Gagarin are back with a sophomore effort, entitled At The Center Of All Infinity. The sweeping echoes give way to 'The New Order', taking off in a characteristic fashion: the bass and drums get locked in a circular pattern, whereas the guitars start floating around…

Recorded in 1977, it was Yuri Temirkanov's first recording of the work, and it is superior to his 1991 digital version on RCA with the St. Petersburg Philharmonic. The older reading is highly romantic in every way, caressing the composer's rich themes almost (but not quite) to excess, with the Royal Philharmonic Orchestra playing at its peak. Lush strings are appropriate for the score, brass is brilliant, and there is plenty of impact to percussion. Previn's Tchaikovsky is admirable, with the advantage of Kingsway Hall acoustics…

A major strength of the Parma performances has been the contribution of the theatre’s chorus. So it proves here as well. Along with the choral contribution, and that of the four soloists, I always listen carefully to hear how the conductor controls the dynamics of the opening Requiem Eternam…the thrilling Tuba Mirum…and the Dies irae and its reprise. Yuri Temirkanov, Musical Director of the Teatro Regio, passes my tests with an ethereally quiet opening. Add to this a viscerally exciting lead into the Mors stupebit…

A major strength of the Parma performances has been the contribution of the theatre’s chorus. So it proves here as well. Along with the choral contribution, and that of the four soloists, I always listen carefully to hear how the conductor controls the dynamics of the opening Requiem Eternam…the thrilling Tuba Mirum…and the Dies irae and its reprise. Yuri Temirkanov, Musical Director of the Teatro Regio, passes my tests with an ethereally quiet opening. Add to this a viscerally exciting lead into the Mors stupebit…