Slavic Heroes

Debut solo recording for Polish baritone Kwiecień

Record and Artist Details

Composer or Director: Pyotr Ilyich Tchaikovsky, Stanislaw Moniuszko, Antonín Dvořák, Nikolay Rimsky-Korsakov, Alexander Borodin, Sergey Rachmaninov, Karol Szymanowski, Bedřich Smetana

Genre:

Vocal

Label: Harmonia Mundi

Media Format: CD or Download

Media Runtime: 55

Mastering:

Stereo
DDD

Catalogue Number: HMW90 6101

Tracks:

Composition Artist Credit
Eugene Onegin, Movement: You wrote to me (Kogda bi zhizn domashnim krugom) Pyotr Ilyich Tchaikovsky, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky, Composer
Eugene Onegin, Movement: Can this really be the same Tatyana? (Uzhel ta sana) Pyotr Ilyich Tchaikovsky, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky, Composer
Iolanta, Movement: Who can compare with my Mathilde (Robert) Pyotr Ilyich Tchaikovsky, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky, Composer
Mazeppa, Movement: O Maria, Maria Pyotr Ilyich Tchaikovsky, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Pyotr Ilyich Tchaikovsky, Composer
Aleko, Movement: The entire encampment sleeps (Aleko's cavatina) Sergey Rachmaninov, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Sergey Rachmaninov, Composer
(The) Devil's Wall, Movement: ~ Bedřich Smetana, Composer
Bedřich Smetana, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Halka, Movement: ~ Stanislaw Moniuszko, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Stanislaw Moniuszko, Composer
Straszny dwór (The Haunted Manor), Movement: Who of my maidens whose heart... Stanislaw Moniuszko, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Stanislaw Moniuszko, Composer
Verbum nobile (Word of Honour), Movement: Come, let envigorating sun Stanislaw Moniuszko, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Stanislaw Moniuszko, Composer
(The) Cunning Peasant, Movement: Who can express in words Antonín Dvořák, Composer
Antonín Dvořák, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Sadko, Movement: Song of the Venetian Guest Nikolay Rimsky-Korsakov, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Nikolay Rimsky-Korsakov, Composer
Polish Radio Symphony Orchestra
Prince Igor, Movement: No sleep, no rest (Igor's Aria) Alexander Borodin, Composer
Alexander Borodin, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
King Roger, Movement: Hymn to Apollo Karol Szymanowski, Composer
Karol Szymanowski, Composer
Lukasz Borowicz, Conductor
Mariusz Kwiecien, Baritone
Polish Radio Symphony Orchestra
Regardless of one’s admiration for Mariusz Kwiecien´’s singing on this disc, the programming fills a valuable niche: the smartly chosen and sequenced arias by Tchaikovsky, Dvo∑ák, Moniuszko and Szymanowski give each other needed context, particularly in the more exotic corners of the Slavic repertoire. The two Onegin scenes stand like bookends, giving a point of reference for the lesser known composers as well as great scenes by others that aren’t fully appreciated in the long haul of a complete stage performance. Though Rachmaninov’s Aleko is an uneven work, you’d never know it from the title-character’s compelling soliloquy and cavatina, aided particularly by Borowicz’s knowing treatment of the orchestration. The disc ends with the King Roger scene that embodies much that came before it, transmuted into its own Richard Strauss-era harmonic language. The typically meticulous packaging assures that full texts and good translations are provided.

Invariably, Kwiecien´ gives vocally solid, passionate accounts of the music. His well-focused (if not exceptionally glamourous) baritone gives a luxuriously clean sense of line to scenes from Mazeppa and Prince Igor that are usually sung by more commanding but woolier Russian bass-baritones. Kwiecien´’s Onegin is particularly nuanced.

Elsewhere in the Russian repertoire, comparisons with the casts in some of the Gergiev/Kirov recordings show Kwiecien´’s clean vocalism isn’t always preferable to the interpretative depths of, say, Nikolai Putilin in Mazeppa. Also, one can’t be surprised when a certain number of the performances in any recital disc are less studied and fall into generic operatic postures. Kwiecien´ only does so in his native tongue, as in his monochromatic excerpt from Halka. Perhaps that music gave him less to discover?

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