Kirill Petrenko...

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Kirill Petrenko...

Vasily Petrenko is far more known in the Netherlands, but Kirill, the new Berliner Philharmoniker chef (in 2018) ?

 

Found some, but not many, recordings on Spotify:

 

http://classicalspotify.blogspot.nl/2015/06/kirill-petrenko-spotify-new-...

 

Did any of you heard him conduct? Opinions?

 

Rolf (Netherlands)

That's some surprising news!

In a strange way, I have almost all of his few recordings. Apart from the two you mentioned and found in Spotify, he recorded two more discs on CPO with works by Suk (Asrael Symphony and A Summer's Tale) and a fine but not that impressive recording of Pfitzner's Palestrina, on Oehms.

I cannot say he impressed me in any way with the above recordings, but he is fine, even convincing, particularly in the CPO recordings. However, I have to admit it is more than a surprise that the legendary BPO had to deliberate that long to come up with such a decision. I have to presume that the institution knows better, anyway. In any case, Mr. Kirill Petrenko will have some time till 2018 to mature and command his Art.

Parla

The Tool

Thanks for that, Parla. Always a pleasure to read your judgements. Petrenko needs to mature. There you have it.

Who?

Maybe I am not the only one who has scarcely heard of him then?   Or at least knows the surname, thanks to Vasily, but not much else.

 

Like others, one has to believe the orchestra and management know what they are doing.  Maybe few Germans knew Sir Simon before he was appointed?

Nick S wrote:

Nick S wrote:

Maybe I am not the only one who has scarcely heard of him then?   Or at least knows the surname, thanks to Vasily, but not much else.

 

Like others, one has to believe the orchestra and management know what they are doing.  Maybe few Germans knew Sir Simon before he was appointed?

One of the problems here is that most of us get to know our music through recordings. It is through them, rather than live performances, that we form our judgements as to who is good and who isn't. Indeed, for many of us, the record takes precedence over the live performance not just because they form the great bulk of our listening experiences, but also because they are the subject of a more intense and involving critical debate. The record is permanent; the live performance ephemeral. It is tempting (though wrong) to think that the record is all that really counts in the end.

So it is hard for us to appreciate quite why the BPO picked someone like Petrenko. He has made hardly any recordings. But for many professional musicians and conductors, for the people who manage orchestras and so on, it is the live performance which really counts. It is the daily show which matters, not the odd records that come out. These days, almost no orchestra makes money from record sales. In some cases, they are a loss, written off as part of the marketing budget. Orchestras survive by filling their halls on a regular basis and they do that by making good music. So when the BPO picked Petrenko, they weren't listening to spotify to check out his records. They were deciding on the basis of actually listening to him perform in live situations. 

As to whether they know him in Germany, they do. He has been there for years, building up excellent reviews. He is currently director of the Bavarian State Opera, for instance. He has also conducted at Bayreuth.........and has led the BPO on several occasions. 

Third, but first?

Since making my comments above I've read today's (London) Times newspaper.  Their article suggests the orchestra was irreconcilably split between Andris Nelsons and Christian Thielemann.  Hence the one they could all agree on was maestro Petrenko.  

I was wowed by Nelsons a couple of years ago with the Birmingham orchestra that Rattle once conducted; he would have been top of my list, though he has just been appointed in Boston.  Give it a decade! 

I've read that rumour, too.

I've read that rumour, too. But I don't think anyone knows. It's just a rumour and journalists are more than happy to recycle it to make a story. The Times is a cesspit of misinformation and bullsh*it. The fact they have printed it doesn't mean it has any credibility.

Nick S wrote:

Nick S wrote:

Give it a decade! 

 

Or else wait until he's been dead 40 years and and people can go on and on about how poor the current crop is in comparison.

Decisions by committee tend to be based on 'least worst' criteria, the result of inability to reach concensus. As someone said when the news broke that Lindbergh had flown the Atlantic (after 80 others had done it, but that's a whole other story), "When a committee flies it, that'll be real news."

You have to wonder if some of the voters had their Petrenko's mixed up.

An Opera House Man for one of the very top Orchestral posts.

In any case, he has been so far a conductor of Opera Houses (Vienna Volksoper, Komische Oper Berlin and, since 2010, the Bavarian State Opera). No spectacular Orchestra record or repertory...so far. He was guest conductor of BPO too (as quite a few others). His performances outside the German speaking space have not become great, memorable events. However, in Germany, he has left his mark, mostly in the Operatic field.

Anyhow, he has time to make his adjustments to justify the saga that a top musical establishment like the BPO can keep having one of the very top conductors of the world. Most hopefully, recording companies may help him too...

Parla

I may be old fashioned,but I

I may be old fashioned,but I do wish that conductors stayed put with an orchestra for longer. They scarcely have chance to mould a sound before they move on.

Think of the 'old' days when one could instantly tell a Beecham performance from an Ansermet one purely by the sound. Likewise Munch and Reiner. These days the lure of too much money ruins any sort of artistic maturity. And its not only conductors who drain the coffers. Dreary repetoire and high seat prices keep people away,as does composer in residence compostions  which sound like the weird imaginings experienced during a bad attack of the flu.

As with football,classical music is seen as a golden goose. Everything is money. 

Regards,Sedgley

A more gently and friendly conductor!

The BPO -and I hope you'll agree with me about this- is a first rank orchestra, inclusive for a majority the best orchestra in all the world!, and because of that I think the musicians were simply  tired of dictatorial and vanish conductors, and now preferred a more gently and  friendly conductor, or perhaps simply a less expensive conductor, being equally a first level artist! Is only an opinion.....Excuse my english please! oscar.olavarria

 

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