Jurowski Stravinsky v3

Alessandro Corbelli takes the title role in Annabel Arden’s whirlwind production of Puccini’s compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love. As performed at Glyndebourne, Gianni Schicci is here combined in a double bill with Rachmaninov's dark setting of Alexander Pushkin's 'little tragedy'. The Miserly Knight, also directed by Annabel Arden and featuring an outstanding performance from Sergei Leiferkus in the role written for the great Russian bass Fyodor Chaliapin.

Vladimir Martynov’s Utopia Symphony is a musical tribute to Singapore from a son of the Russian avant-garde of the 1970s. Martynov skillfully combines influences from American minimalism and Russian Orthodox chant with a libretto inspired by the ancient text of the Tao Te Ching to create a sound world which seeks to reimagine the concept of utopia. This world premiere recording was made at London’s Abbey Road Studios, under the baton of Vladimir Jurowski.

Most often performed in an arrangement for string quartet, this recording of Haydn’s The Seven Last Words of our Saviour on the Cross is a unique proposition – offering Haydn’s original instrumental meditations alongside their choral counterparts.

This CD captures the impassioned live performances of Brahms’s first two symphonies conducted by the London Philharmonic Orchestra’s Principal Conductor Vladimir Jurowski. Jurowski came to international attention and recognition on disc in 2005 with two Tchaikovsky releases: Suite No.3 on PentaTone and on the LPO label his debut recording Tchaikovsky's Manfred Symphony, both widely and critically acclaimed releases. As Hugh Canning in The Sunday Times noted 'Jurowski is proving himself one of the rising podium stars, especially in his native Russian music'.

Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin continue their exploration of Mahler with a new recording of Das Lied von der Erde, on which Dame Sarah Connolly and Robert Dean Smith provide the vocal contributions. Residing somewhere between symphony and song cycle, Das Lied is one of Mahler’s most profound and loved works, marking an important step in the composer’s career, as well as in his private life. Jurowski approaches the piece as Mahler’s deliberate move from a “heroic” Beethovenian model towards a more “lyrical”, Schubertian attitude.