Academy of St Martin in the Fields
Director: Sir Neville Marriner

01. Carissimi: Vittoria mio core
02. Vivaldi: Se il cor guerriero
03. Gluck: O del mio dolce ardor
04. Giordani: Caro mio ben
05. Handel: Dignare o domine
06. Vivaldi: Orribile lo scempio
07. Cakdara: Selve amiche
08. Gluck: Che faró senza Euridice
09. Handel: Ombra mai fu
10. Sorge infausta
11. Caldara: Come rragio di sol
12. Durante: Vergin, tutto amor
13. Handel: Che sprezzando
14. Scarlatti: Gia il sole dal gange
15. Anon: Nina
16. Durante: Danza, danza, fanciulla
17. Caccini: Amarilli, mia bella
18. Cesti: Si mantiene il mio amor
19. Stradella: Pieta, signore

Dmitri Hvorostovsky (Baritone)
Academy of St. Martin in the Fields 
Sir Neville Marriner (Conductor)

Hvorostovsky brings to these works the beauty of tone and elegance of phrasing that he acquired from bel canto, sometimes having an extra degree of intensity that puts the emotion of the music before its mere form.

Taking time out from his nights at the opera in Eugene Onegin and Don Carlo, Dmitri Hvorostovsky is here found moonlighting with the music of an earlier era. There is no point in being snooty about this, as he is following in an honourable tradition. Any favourite among the one antiche, such as Giordani's Caro mio ben, has acquired quite a roll-call of major recording artists down the years: Caballe, Wunderlich, Pavarotti, De Luca and Schlusnus, to name only the most prestigious. Most of them have favoured an orchestral arrangement of the music and Hvorostovsky is no exception, employing a rather sweet-toothed one made by his conductor, Sir Neville Marriner. The Gluck and Handel arias are naturally performed in their original orchestrations, but the other items on this disc have all been arranged by various hands. Marriner and the ASMF make sure the accompaniments are always lively, not least thanks to a hyperactive harpsichordist who is overkeen to make his presence felt, and the recording is well balanced.

How does Hvorostovsky deport himself in this baroque apparel? Of course, there is nothing 'authentic' about his approach, but the cut of the music suits him well enough and he brings with him the style that he has acquired from the bel canto repertoire. That means beauty of tone and elegance of phrasing, heard typically in the sacred extracts from Handel's Dettingen Te Deum and Brockes Passion. On the best tracks he goes further: Caldara's moving Come raggio di sol and Durante's Vergin, tutto amor are both sung with an extra degree of intensity that puts the emotion of the music before its mere form.

It is surprising how many of these songs and arias coincide with the choices made by Dame Janet Baker in her various recital discs devoted to Gluck, Handel and arie amorose, the latter also conducted by Marriner (Philips, 1/93). Comparisons show Baker to be the one who illuminates the music from within, while Hvorostovsky is more generalized — for example, a sad and passive Gluck Orfeo alongside her urgently dramatic portrayal. I enjoyed the two numbers arranged by Hvorostovsky himself, where he sings with a nice freedom. The final track — Niedermeyer's sombre Pieta, Signore, powerfully delivered — is the longest item and gives the disc a last-minute sense of substance. Hvorostovsky's many admirers have no reason to hold back. -- Gramophone [3/1998], arkivmusic.com

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1-1 	Di Provenza Il Mar 	(La Traviata)
1-2 	Il Balen Del Suo Sorriso 	(Il Trovatore)
1-3 	O Carlo, Ascolta 	(Don Carlo)
1-4 	Largo Al Factotum 	(Il barbiere di Siviglia)
1-5 	Com Paride Vezzoso 	(L'elisir d'amore)
1-6 	Cruda, Funesta Smania 	(Lucia di Lammermoor)
1-7 	Ah! Per Sempre Io Ti Perdei 	(I Puritani)
1-8 	Bella Siccome Un Angelo 	(Don Pasquale)
1-9 	Vy Mne Pisali 	(Eugene Onegin)
1-10 	Uzhel Ta Samaya Tatyana 	(Eugene Onegin)
1-11 	Vy Tak Pechalny, Dorogaya 	(Pique Dame)
1-12 	Kto Mozhet Sravnitsa 	(Iolanta)
1-13 	Na Vozdushnom Okeane 	(The Demon)
1-14 	Gorod Kamennyi 	(Sadko)
1-15 	S Uma Neidyot Krasavitsa! 	(The Tsar's Bride)
1-16 	Zachem Ty?	(The Tsar's Bride)

Dmitri Hvorostovsky - baritone
Rotterdam Philharmonic Orchestra, Valery Gergiev (1-3, 9-11
Kirov Orchestra, St Petersburg, Valery Gergiev (4-8, 12-16)
Olga Borodina - mezzo-soprano (16)


Dmitri Hvorostovsky (16.10.1962-22.11.2017).

Known for captivating song recitals, lyrical performances of Verdi baritone roles, and, not least of all, his striking silver hair, Dmitri Hvorostovsky enjoyed an A-list career since he emerged in the early 1990s. His brilliant, yet deceptively dark-hued voice is the embodiment of chiaroscuro, and the combination of vocal polish and emotion that he brought to his performances made him an audience favorite.

Having grown up, studied, and debuted (as Marullo in Rigoletto) in his hometown of Krasnoyarsk, he took top honors at the 1987 Glinka National Competition, the 1988 Toulouse Singing Competition, and then the 1989 Cardiff Singer of the World competition. The last of these, in which he edged out both the meteoric Bryn Terfel and Monica Groop for the win, launched him into the spotlight and led to his western operatic debut, as Yeletsky in Tchaikovsky's The Queen of Spades in Nice. The next several years brought debut recitals in London and New York, his Italian debut as Eugene Onegin at the famous La Fenice, and engagements at Covent Garden, the Metropolitan Opera, the Chicago Lyric Opera, and the Berlin State Opera. His first solo recording contract, with Philips, began in the early 1990s, as well; the artistic and commercial success of his first several CDs, and the explosion of his operatic and concert schedule around the world, sent his career into high gear.

Although he was closely identified with the roles of Eugene Onegin and Yeletsky (The Queen of Spades), Hvorostovsky's operatic repertory was centered on Italian works more so than Russian; in the early 2000s, he began to explore new Russian territory, like Prokofiev's War and Peace, but in general he felt Russian roles called for a gruffer, less lyrical voice than his. He is known best for his performances as the elder Germont in La Traviata, Posa in Don Carlos, Don Giovanni, and Rossini's Figaro. However, as a recitalist, Hvorostovsky was always intensely focused on Russian song, making moody, dramatic works of Rachmaninov, Tchaikovsky, Rimsky-Korsakov, Glinka, and Mussorgsky the centerpieces of his performances. With his longtime collaborator Mikhail Arkadiev at the piano, Hvorostovsky established himself as one of the finest singers of that repertory anywhere in the world. The special nature of that collaboration was honored by Russian composer Georgy Sviridov in 1995, when he dedicated his vocal poem Petersburg to Hvorostovsky and Arkadiev; the two remained champions of his music. Since the turn of the twenty-first century, Hvorostovsky devoted himself more and more to Verdi roles. ---Allen Schrott, allmusic.com

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1. Serse - Frondi tenere e belle … Ombra mai fu
2. Orfeo ed Euridice -  Che farò senza Euridice?
3. Tito Manlio - Se il cor guerriero
4. La constanza in amor vince l’inganno - Selve amiche
5. Giordani - Caro mio ben
6. Rachmaninoff -  Ne poy, krasavitsa, pri mne
7. Rachmaninoff -  V molchanii nochi taynoy
8. Tchaikovsky - Nyet, tolko tot, kto znal
9. Tchaikovsky - O, yesli b ty mogla
10. Tchaikovsky - Snova, kak prezhde, odin
Songs and Dances of Death - Moussorgsky
11. I Kolybelnaya
12. II Serenada
13. III Trepak
14. IV Polkovodets
15. Syrewicz - Tears
Folk Songs
16. Korobyeiniki: Oy, polna, polna karobushka
17. Elegia: Kodga, dusha
18. Ochi chornyye
19. Kalinka

Dmitri Hvorostovsky - Baritone
Oleg Boshnyakovich – Piano
Mikhail Arkadiev - Piano
Rotterdam Philharmonic Orchestra, Kirov Orchestra - Valery Gergiev
Philharmonia Orchestra - Ion Marin
Academy of St Martin in the Fields - Sir Neville Marriner
Osipov Russian Folk Orchestra - Nikolai Kalinin

Internationally acclaimed Russian baritone Dmitri Hvorostovsky was born and studied in Krasnoyarsk, Siberia. From the start, audiences were bowled over by his cultivated voice, innate sense of musical line and natural legato. His career has taken him to all the world’s major opera houses and renowned international festivals, including Royal Opera House, Covent Garden, New York’s Metropolitan Opera, Paris Opera, Bayerische Staatsoper Munich, Salzburg Festival, La Scala Milan, Vienna State Opera and Chicago Lyric Opera.

A celebrated recitalist in demand in every corner of the globe–from the Far East to the Middle East, from Australia to South America – Dmitri has appeared at such venues as Wigmore Hall, London; Carnegie Hall, New York; the Teatro alla Scala, Milan; the Tchaikovsky Conservatoire, Moscow; the Liceu, Barcelona; the Suntory Hall, Tokyo; and the Musikverein, Vienna.

Dmitri retains a strong musical and personal contact with Russia. He became the first opera singer to give a solo concert with orchestra and chorus on Red Square in Moscow; this concert was televised in over 25 countries. Dmitri has gone on to sing a number of prestigious concerts in Moscow as a part of his own special series, ‘Dmitri Hvorostovsky and Friends’. He has invited such celebrated artists as Renée Fleming, Barbara Frittoli, Elina Garanca, Sumi Jo, Sondra Radvanovsky, Jonas Kaufmann, Marcello Giordani and Ildar Abdrazakov. In 2005 he gave a historic tour throughout the cities of Russia at the invitation of President Putin, singing to crowds of hundreds of thousands of people to commemorate the soldiers of the Second World War. Dmitri has major annual tours throughout Russia and C.I.S. countries.

Dmitri’s extensive discography spans recitals and complete operas. He has also starred in Don Giovanni Unmasked, an award-winning film (by Rhombus Media) based on the Mozart opera, tackling the dual roles of Don Giovanni and Leporello. Recent CD recordings include “Wait for me” (Russian War Songs with orchestra conducted by Constantine Orbelian); “Simone Boccanegra” (with Barbara Frittoli, Ildar Abdrazakov, Stefano Secco and Constantine Orbelian), all have been met with much critical acclaim.

Dmitri has established great collaboration with the Russian popular composer Igor Krutoi, with very successful concerts in Moscow, St Petersburg, Sochi, Kiev and New York. --- hvorostovsky.com

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   1.      Come To Me, All You Who Labour
   2.      The Good Thief
   3.      Praise Ye The Name Of The Lord
   4.      Great Doxology
   5.      Cheruic Hymn: Cherubic Hymn
   6.      Symbol Of Faith (Creed)
   7.      Our Father
   8.      Blessed Is The Man
   9.      From My Youth
  10.      Let My Prayer
  11.      Gabriel Appeared
  12.      Strengthen, O Lord
  13.      We Praise Thee

Dmitri Hvorostovsky - Baritone
St. Petersburg Chamber Choir
Nikolai Korniev - conductor

This album is curiously packaged: the Latin title Credo on a recording of Russian liturgical music, sold not with religious symbolism but with a close-up of the heavy-lidded, dark eyes of Dmitri Hvorostovsky. Fortunately, the contents are eminently worthwhile. Hvorostovsky is, deservedly, one of the rising stars of our time, with a rich, chocolaty baritone consistently wielded with intelligence. The St. Petersburg Chamber Choir deserves to be better known; although they're frequently singing backup here, this is a beautifully disciplined, well-tuned ensemble, singing with meaning and with resonant voices. --Sarah Bryan Miller, amazon.com

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1. Torna a surriento for voice & piano (or orchestra)
2. Passione
3. Maria, marí for voice & piano (or orchestra) - orchestrated by chiaramello, g.
4. Core 'ngrato (Catari), for voice & orchestra
5. Parlami d'Amore, Mariu for voice & orchestra
6. Non ti scordar di me, for voice & orchestra (& chorus ad lib)
7. O sole mio for voice & piano (or orchestra)
8. Marechiare for voice & piano/orchestra
9. Voce 'e notte! for voice & orchestra
10. Dicitencello Vuje, for voice & orchestra
11. Comme facette mammeta? - orchestrated by medvedev, a.
12. Musica proibita, for voice & orchestra, op 5
13. A vucchella ("arietta di posilippo") for voice & piano (or orchestra)
14. Canta pe'me, for voice & orchestra
15. Fenesta che (ca) lucive - arranged by gritsevitch, a.
16. Santa Lucia for voice & orchestra
17. 'O surdato 'namurato

Dmitri Hvorostovsky - baritone
Philharmonia of Russia
Constantine Orbelian - conductor

Once you get used to the idea that your favorite tenor (in my case Björling) isn't singing "Torna a Surriento"--or any other of these 17 popular Neapolitan songs, you easily can settle into an enjoyable hour with one of the world's great baritones, a certain Siberian opera star who knows as much or more about Italian songs than even some native singers we've all heard. Dmitri Hvorostovsky's rich, smooth voice, whose qualities have been aptly described as "warm", "liquid", and possessing a "burnished beauty", adapts well to these characteristically full-throated revels in romanticism. Although he tends to cover upper-register soft notes a little too much for my taste, there's absolutely no quarreling with Hvorostovsky's expressive instincts--or with the smooth legatos and tasteful interpretive nuances.

You catch the singer's love of these songs through his ability to project a certain "attitude"--one that he expresses passionately in defense of his performance of music so seemingly far removed from his experience and background: "I have an Italian wife, I've sung in Italian all my life, and I've worked hard on the Neapolitan dialect. Besides, this repertoire has been in my blood for 25 years, from my early days as a student." Indeed, although there's a certain darkness to the timbre that we usually don't hear in this music, the passion certainly is there, and while the spirit may not be as carefree as that of a more Italianate singer, it carries the same innate, life-loving zest. Hvorostovsky the opera virtuoso is most surely at home in the more operatic-styled songs, such as "Torna a Surriento" and "Dicitencello vuie", but his "O sole mio" and "Santa Lucia" are every bit as compelling. Constantine Orbelian and the Philharmonia of Russia prove ideal collaborators, and the sound is just fine. --David Vernier, ClassicsToday.com

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01 Otello - Vanne... Credo In Un Dio Crudel
02 Rigoletto - Pari Siamo
03 Rigoletto - Cortigiani, Vil Razza Dannata
04 Stiffelio - Ei Fugge! Lina, Pensai Che Un Angelo
05 Nabucco - Son Pur Queste Mie Membra... Dio Di Giuda
06 Un Ballo In Machera - Alla Vita Che T'arride
07 Un Ballo In Machera - Alzati!... Eri Tu
08 Ernani - Gran' Dio!... Oh De' Verd'anni Miei
09 I Masnadieri - Vecchio Spiccai
10 I Masnadieri - Sogno Di Francesco
11 II Masnadieri - Tutto E Deserto

Dmitri Hvorostovski - baritone
Philharmonia de Russie
Mario Bernardi - conductor

Dmitri Hvorostovsky was "born to sing Verdi" (Opera magazine) and indeed the composer's operas are central to the great Russian baritone's remarkable career. He showcases his hallmark Verdi roles on this his second release for Delos.

The release of Verdi Arias comes hot on the heels of Hvorostovsky's appearances at the Metropolitan Opera as Posa in Don Carlo, one of three Verdi roles he took on during the 2001-2002 season and two of which are featured on this disc. His first Rigoletto in the West, at the Houston Grand Opera in October and November, was greeted with unanimous critical acclaim. "This is a Rigoletto gripping from start to finish," declared MusicalAmerica.com. "It is a new and brilliant view, and Hvorostovsky employs razor-sharp intellect to bring [the role] to life... He uses every nuance of his immense voice... he speaks with Olympian authority." April brought Hvorostovsky's first Il Trovatore at the Royal Opera House, Covent Garden. Hvorostovsky possesses a rare blend of musical power and passion combined with acute musical intelligence. He has been praised world-wide for the success of his penetrating artistic explorations and the depth of his bold characterizations. He glides seamlessly between the often-conflicting emotions of Verdi's complex characters. One of Hvorostovsky's most notable and familiar roles is Francesco in I Masnadieri. On Verdi Arias, "Sogno di Francesco" portrays the character in a rare reflective mood, but Hvorostovsky has likened his demonic character to Iago, represented by the confessional "Credo in un Dio crudel" from Otello. Rage and revenge are heard from Stankar in "Lina, pensai ch'e un angelo; Oh gioia inespribile" from Stiffelio, innocence and fury from Renato in "Alla vita che t'arride" "Eri tu", from Un ballo in maschera. As King Carlo in Ernani Hvorostovsky delivers a somber and stirring "O de' verd'anni mie", as well as a desperate King Nebuchadnezzar in "Dio di Giuda!" from Verdi's early Nabucco. A disc devoted to Verdi fulfils a lifelong dream for Hvorostovsky. As a teenager he dreamed of singing Rigoletto though it wasn't until two decades later when he finally undertook the role on stage. Along the way his professional assumption of Verdi roles has been judicious and consistent with the development of his prodigious vocal gifts. ---browse.delosmusic.com

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1. Somewhere Far Away
2. Dark Is the Night
3. Unexpected Waltz
4. Where Are You, My Brothers?
5. On a Nameless Hill
6. Roads
7. Soldiers Are Coming
8. Cranes
9. In the Trenches
10. Sacred Stone
11. Katyusha
12. Cossacks in Berlin
13. My Moscow
14. Road to the Front
15. Hills of Manchuria
16. Lonely Accordion
17. Last Battle

Dmitri Hvorostovsky - baritone
Spiritual Revival Choir of Russia
Moscow Chamber Orchestra
Constantine Orbelian - conductor

This disc is a real triumph for singing. One need not 'classify' this album as 'songs', or 'arias' or 'lieder', or 'cross-over'. Some tunes in the tracks are very well-known, at least for listeners who are born not too long after the Second World War.

The accompanying orchestra and the singer convey all there is need to be conveyed - the message, the mood, the atmosphere, all authentic and beautifully wrapped up. And the songs are very well-chosen, too. The singer and the producer simply put ALL their hearts into this production, as evidenced by the list of utmost beautiful choices. For an era past; for an ears that seek only beauty from humanity - get this album without further hesitation. ---Abel, amazon.com

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Дмитрий Хворостовский - Романсы (2011)

01. Я помню чудное мгновение (Ya pomnyu chudnoe mgnovyenye)
02. Я встретил Вас (Ya vstrechil vas)
03. Однозвучно гремит колокольчик (Odnozbychno gremit kolokolchik)
04. Утро туманное (Utro tumannoe)
05. Гори, гори, моя звезда (Gori, gori moya zvezda)
06. В крови горит огонь желанья (V krovi gorit ogon zhelanya)
07. Ночь светла (Noch svetla)
08. Но я Вас все-таки люблю (No ya Vas vse-taki lyubila)
09. Очи черные (Ochi chornye)
10. Соловей (Solovey)
11. Ах ты, душечка (Akh, ty, dushenka)
12. Я Вас любил (Ya Vas lyubil)
13. О, если б мог выразить в звуке (O, esli b mog vyrazit v zvuke)
14. Жалобно стонет ветер осенний (Zhalobno stonet veter osenniy)
15. Прощай, радость (Proshchay, radost)
16. Коробейники (ой полна, полна коробушка) (Korobeyniki)
17. Выхожу один я на дорогу (Vihozhu odin ya na dorogu)
18. Свиданье (в час, когда мерцанье) (Svidanye)
19. Песнь ямщика (Pyesn yamshchika)
20. Средь шумного бала (Sred shumnogo bala)
21. Забыть так скоро (Zabyt tak skoro)
22. Урну с водой уронив  (Urnu s vodoy uroniv)
23. Редеет облаков летучая гряда (Redeyet oblakov letuchaya gryada)
24. Ночь (Noch)
25. Ни слова, о, друг мой (Ni slova, o drug moy)

Known for captivating song recitals, lyrical performances of Verdi baritone roles, and, not least of all, his striking silver hair, Dmitri Hvorostovsky has enjoyed an A-list career since he emerged in the early 1990s. His brilliant, yet deceptively dark-hued voice is the embodiment of chiaroscuro, and the combination of vocal polish and emotion that he brings to his performances has made him an audience favorite. Having grown up, studied, and debuted (as Marullo in Rigoletto) in his hometown of Krasnoyarsk, he took top honors at the 1987 Glinka National Competition, the 1988 Toulouse Singing Competition, and then the 1989 Cardiff Singer of the World competition. The last of these, in which he edged out both the meteoric Bryn Terfel and Monica Groop for the win, launched him into the spotlight and led to his western operatic debut, as Yeletsky in Tchaikovsky's The Queen of Spades in Nice. The next several years brought debut recitals in London and New York, his Italian debut as Eugene Onegin at the famous La Fenice, and engagements at Covent Garden, the Metropolitan Opera, the Chicago Lyric Opera, and the Berlin State Opera. His first solo recording contract, with Philips, began in the early 1990s, as well; the artistic and commercial success of his first several CDs, and the explosion of his operatic and concert schedule around the world, sent his career into high gear.

Although he is closely identified with the roles of Eugene Onegin and Yeletsky (The Queen of Spades), Hvorostovsky's operatic repertory is centered on Italian works more so than Russian; in the early 2000s, he began to explore new Russian territory, like Prokofiev's War and Peace, but in general he feels Russian roles call for a gruffer, less lyrical voice than his. He is known best for his performances as the elder Germont in La traviata, Posa in Don Carlos, Don Giovanni, and Rossini's Figaro. However, as a recitalist, Hvorostovsky has always been intensely focused on Russian song, making moody, dramatic works of Rachmaninov, Tchaikovsky, Rimsky-Korsakov, Glinka, and Mussorgsky the centerpieces of his performances. With his longtime collaborator Mikhail Arkadiev at the piano, Hvorostovsky has established himself as one of the finest singers of that repertory anywhere in the world. The special nature of that collaboration was honored by Russian composer Georgy Sviridov in 1995, when he dedicated his vocal poem Petersburg to Hvorostovsky and Arkadiev; the two have remained champions of his music. Since the turn of the twenty-first century, Hvorostovsky das devoted himself more and more to Verdi roles. --- Allen Schrott

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