Olga Peretyatko – The Secret Fauré: Orchestral Songs & Suites (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:13:57 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical – Sony Music
If Le Secret is the title of a melody that Gabriel Fauré composed on a rather vapid poem by Armand Silvestre, it doesn’t seem like it inspired the title of the present album called “The Secret Fauré”, and it is rather underlining the rare and intimate character of the works. Ivor Bolton, conducting the Sinfonieorchester Basel, of which he is the artistic director, offers a very subtle selection composed of extracts of stage music or music for the stage: Caligula, Pénélope, Shylock, Pelléas et Mélisande, mixed with a few melodies orchestrated by Fauré or more probably by his friends, such as Charles Koechlin.
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Olga Peretyatko, Ural Philharmonic Orchestra, Dmitry Liss – Russian Light (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 54:50 minutes | 890 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Music Classical Local
On her new album “Russian Light”, Olga Peretyatko presents favourite arias and songs from her homeland Russia — by Glinka, Rimsky-Korsakov, Rachmaninov, Stravinsky and Shostakovich. Many of them are well known (Rachmaninov’s Vocalise) but there are also unknown rare jewels on the album like the songs from Rachmaninov or the opera arias by Shostakovich. She teamed with the Ural Philharmonic Orchestra, one of the best orchestras in Russia, and excellent for this kind of repertoire with conductor Dimitry Liss, specialist for this repertoire.
The main focus of “Russian Light” falls on excerpts from operas that have left a deep imprint on Russia’s national music. Among these are Glinka’s Ruslan and Ludmila as well as Rimsky-Korsakov’s The Golden Cockerel, The Snow Maiden and The Tsar’s Bride. The latter piece represents a personal triumph for Ms Peretyatko, for she sang the role of Marfa under Daniel Barenboim to open the 2013 season at the Berlin State Opera. With her silvery timbre and solid mastery of coloratura she thrilled not only the audience but the critic of Der Tagespiegel: “Olga Peretyatko projects Marfa as a being so delicate and other-worldly that it strikes the knowledgeable listener to the core.”
Other excerpts on “Russian Light” are taken from operas by Stravinsky and Shostakovich that likewise accompanied Ms Peretyatko on her rise to stardom. In 2009 she stepped in at short notice for an indisposed colleague to sing the role of Lidochka in Shostakovich’s operetta Moscow, Cheryomushki at the Opra de Lyon. Though she had only two days’ time before the premire, she won acclaim for her breathtaking character depiction. In 2010 she sang The Nightingale in Stravinsky’s like-named opera (Le Rossignol) at the festival in Aix-en-Provence. When the production was mounted in New York and Canada the North American critics went wild about her effortless presentation and the “fresh sound of her voice”.
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Olga Peretyatko – Rossini! (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:22 minutes | 1,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
This is the third album from Russian soprano Olga Peretyatko, whose first two releases included a variety of unusual repertory choices. Here she plays to what has emerged as her undisputed strength with a set of Rossini arias, each with its full complement of introductory material. A few might qualify as rarities, although Peretyatko has been a staple of the Rossini Opera Festival in Pesaro, Italy, which has been doing a pretty good job of remaking the Rossini canon: the likes of Matilde di Shabran, which supplies a barnburner here (track three), are making increasingly frequent appearances on stages thanks to this festival. At any rate, Peretyatko is an ideal Rossini soprano. Each of these scenes builds dramatically over its ten minutes or so, and you feel that she’s in such complete control that the precise coloratura comes as no surprise. And the high notes…they’re a marvel, with power, uncanny pitch accuracy, and just a little bit of smoke. Peretyatko gets idiomatic support from the Orchestra e Coro del Teatro Comunale di Bologna under Alberto Zedda, and idiomatic sound, if one can call it that, from Sony’s engineers, working in that same theater. This is state-of-the-art Rossini, and Peretyatko is not just another pretty Russian soprano.
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Olga Peretyatko – Mozart+ (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 59:59 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical – Sony Music
Mozart+ is an exceptional selection of some of the most beautiful concert and opera arias by W.A. Mozart as well as discoveries of largely unknown arias from operas by Tommaso Traetta, Giovanni Paisiello and Vicente Martín y Soler, reflecting the exchange of musical ideas between Mozart and his contemporaries and getting these three composers out of Mozart’s shadow. Olga Peretyatko chose arias from the well-known operas Die Entführung aus dem Serail, Le nozze di Figaro, “”Don Giovanni”” and Clemenza di Tito by Mozart and combined these with arias from rather forgotten operas such as “”Antigona”” by Traetta, “”Il barbiere di Siviglia”” by Paisiello as well as “”Il burbero di buon cuore”” by Soler. The connection between Mozart and Soler becomes obvious, as the recording also includes two insertion arias (K582 and K583) by Mozart, which he had written for the revival of “”Il burbero di buon cuore””. Mozart+ is Peretyatkos second collaboration with the Sinfonieorchester Basel and Ivor Bolton as the conductor, after the highly acclaimed recording The Secret Fauré (2018).
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