Search - Pyotr Il'yich Tchaikovsky, Valery Gergiev, Kirov Chorus and Orchestra :: Pique Dame

Grigorian is Wonderful

wellio@wa.freei.net | 08/21/2001

(5 out of 5 stars)

"This is a powerful performance and the singing is strong throughout. Although I have not heard other recordings (by all accounts there are only one or two others), I must say I am impressed with Grigorian in the lead role, and the lyricism of his instrument, far from being a drawback as suggested by another reviewer who compares him to Atlantov, is a strength. Grigorian sings with a wonderful legato, his musical phrasing is tasteful and intelligent while at the same time hinting at an undercurrent of melancholy and inner turmoil. Grigorian also has a good top, which is all the more effective because of the restraint he employs in the lyrical passages. Grigorian's subtle reading of Herman avoids the pitfalls of simply painting him with two colors: obsessive gambler and irrational lover. This is important, since the two poles of Herman's obsession essentially converge, and the singer must be able to convey that. Unlike other fashionable tenors in Europe and America, Grigorian does not have recording contracts and has not made cd's of either third rate music or first rate music sung with third rate interpretations. Instead, he has done what real opera singers do: sung in live performances, perfecting his vocal technique and his skills of dramatic characterization. Listening to this performance, it is evident that Grigorian has thought about this character, has performed this role often, and has arrived at a psychologically complex and, ultimately, aesthetically edifying interpretation."

A Beautiful and Intense Opera

Timothy Kearney | Hull, MA United States | 10/07/2006

(5 out of 5 stars)

"PIQUE DAME has the rare exception among Tchaikovsky's works of being beloved by the composer, hailed by the critics, at least most of the critics, and loved by the public during his lifetime. This could be with good reason. First, the story behind the opera, based on a short novel by Pushkin about a gambler who falls in love with Lisa, the granddaughter of a Countess with a secret for gambling success, only to face self destruction, is a compelling story and even though it was changed in large part in the opera, it still has dramatic intensity. The music is some of Tchaikovsky's best and most original, certainly his best for the stage and depicts the varied moods of the work. Its setting, the fashionable court circles of late 18th century Russia, calls for an elaborate stage. It's opera at its best and Tchaikovsky at his finest. It became an international success after its premiere, and while it may not be performed as often today as EUGENE ONEGIN, it still has a home in the larger opera houses around the world.



This recording by The Kirov Opera under the direction of Valery Gergiev does the opera justice. The orchestra is impeccable and the colorful choral scenes are superb. Listeners can easily imagine the grand scenes when listening to this set. The soloists likewise are phenomenal. Top of the list would be tenor Gegam Grigorian as Herman. Herman is a man of many emotions and the person who performs this role has to swing from despair to confidence and joy to sorrow almost without warning. Grigorian does this with a voice of astonishing color. Maria Gulegina has many of the same attributes as Grigorian as she portrays the youthful but soon to be heartbroken Lisa. The role of the countess has been performed on stage by a number of great and aging mezzos who still have something to offer. Who could resist a role that has a slightly tainted character who is wronged and comes back as a ghost to exact revenge? Irina Arkhipova has powerful voice and seems to be enjoying her performance as the Countess. Vladimir Chernov has become an international star since the fall of the Soviet Union, as has Nikolai Putilin. The two perform the baritone roles of Yeletsky and Tomsky respectively. Both are in excellent voice and have that deep rich sound that differentiates Russian opera from the German, Italian, and French repertoires.



In general, the rule of thumb for Russian opera is that the best casts and orchestras are those that are Russian and this applies to this set. Many of the performers in this set were trained under the old Kirov system and the singers know this opera well and the wonderful nuances of the opera. This is due to years of performance as opposed to learning the work for a one shot stage production and perhaps a recording. It is another wonderful recording of Russian opera performed by the Kirov and released by Philips.

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