Andris Nelsons

The Wiener Philharmoniker, or Vienna Philharmonic Orchestra, has attained a kind of exalted status among symphonic ensembles of the German-speaking world. In fact, it may be so exalted that it only occasionally, when properly motivated, bestirs itself to creativity. From this perspective, this cycle of Beethoven symphonies, with Andris Nelsons conducting the venerable Viennese, is a success worthy of the shelf and hard drive space among all the other hundreds of Beethoven symphony cycles. Nelsons generally makes his Beethoven brisk enough to put the players into a bit of a state of tension, and when they execute, the results are thrilling indeed, in a way that brings the entire weight of the Vienna tradition alive.

In this installment in 'an ongoing Shostakovich survey that has rightly won him three Grammy Awards' (New York Times), Andris Nelsons and the Boston Symphony Orchestra bookend the composer's brilliant, often turbulent symphonic career. Nearly half a century lies between Shostakovich's triumphant debut with the 'First', premiered before his 20th birthday, and the 'Fifteenth', an inventory of influences written under the shadow of his own mortality. Penned just two years earlier, the 'Fourteenth' is a symphonic song cycle, and the Chamber Symphony is a skillful adaptation of that tragic masterpiece, the Eighth String Quartet.

Grammy-winning conductor Andris Nelsons and his "superb" (The Guardian) Gewandhausorchester Leipzig continue their acclaimed couplings of Bruckner symphonies and Wagner masterpieces with Symphony No. 6 and Symphony No. 9. The symphonies are accompanied by the Wagner's Prelude to his last complete opera, Parsifal, and the Siegfried Idyll.

After the "scandalously successful" (Sunday Times) Symphony No. 10 in 2015, "the sheer expressive beauty" (Gramophone Magazine) of Symphonies Nos. 5, 8, 9 from 2016, and the "overbearing vividness" (The Guardian) of the most recent Symphonies Nos. 4 & 11, Nelsons and the BSO continue the Grammy-winning cycle with Symphonies Nos. 6 & 7. The symphonies are complemented by two other works by Shostakovich, the Suite from the Incidental Music to King Lear, Op. 58a and the Festive Overture, Op. 96.

This Blu-ray disc features rising star conductor Andris Nelsons leading the Royal Concertgebouw Orchestra in a program of popular Richard Strauss orchestral works: Till Eulenspiegel, Macbeth and Also Sprach Zarathustra. Andris Nelsons is one of todays most sought-after young conductors, having worked with the worlds most important orchestras including the Berlin, Vienna, New York, Royal Concertgebouw and Philharmonia Orchestras. He is a regular guest at Covent Garden, the MET, Wiener and Deutsche Staatsoper and at Bayreuth.

Continuing his Bruckner cycle on Deutsche Grammophon with the Leipzig Gewandhaus Orchestra, Andris Nelsons presents the Symphony No. 7 in E major, paired with an excerpt from Richard Wagner's Der Ring des Nibelungen, "Siegfried's Funeral March" from Götterdämmerung. While this symphony is outwardly one of Bruckner's most approachable, particularly in its lyrical opening movement, its energetic Scherzo, and its jubilant Finale, its long, funereal Adagio makes the connection to the gloomy Ring selection more apparent, since this slow movement was composed in anticipation of Wagner's death. It also marks the first time that Bruckner used a quartet of the novel "Wagner tubas," and unusually wrote parts for cymbals, triangle, and timpani at the movement's climax, perhaps symbolizing Wagner's apotheosis.

Hans Neuenfelss striking new production of Wagners fairytale opera gives this medieval story of doomed love and sorcery the Bayreuth treatment. As controversial as it is stimulating, this production was the talk of the 2011 Festival, and showcases a new generation of Wagnerian singing talent including soprano Annette Dasch and tenor Klaus Florian Vogt. Lohengrin is staged by the enfant terrible Hans Neuenfels, and offers a thought provoking production of brilliant visual clarity. The performance by Klaus Florian Vogt in the title role is staggering and impressive. There is beauty and purity in his voice, but in this role in particular, one truly senses something unheimlich, other-worldly, which fits superlatively both with work and production. Conductor Andris Nelsons brings out the best in the festival chorus and orchestra. It is a Lohengrin one does not easily forget and puts Bayreuth back in the vanguard of Wagner interpretation.

Andris Nelsons and the Gewandhausorchester Leipzig continue their award-winning Bruckner cycle. This time the Symphonies are coupled with Wagner’s Meistersinger Prelude. The Orchestra and the Latvian Maestro recently announced the extension of their acclaimed partnership until 2027. In 2019 The Times (UK) raved about Andris Nelsons and the Gewandhausorchester’s visit to the BBC Proms, “He [Bruckner] really does have to be played very, very well if the spaces that suddenly open up around the notes are not to seem a slackening of tension. It was one of the outstanding features of Nelsons’s reading – among the best Bruckner interpretations I’ve heard – that they never did. Every standstill was pregnant with consequence; and, while one could relish the beauty of sound […] one felt the pacing hidden in the background. Detail was luxurious, but architecture paramount, and Nelsons’s unshowy approach profoundly impressive. One could almost believe one had come across that impossible thing: the ego-less conductor. No exhibitionism here. He revealed Bruckner, with a relentless vision that takes us into the strangest places, as greater than ever.”