5186014

Serge Prokofiev
Pedro y el lobo
narrado en español por
Antonio Banderas
Jean-Pascal Beintus

Wolf Tracks
(Las huellas del lobo)
narrado en español por
Antonio Banderas

Serge Prokofiev
Pedro y el lobo narrado en inglés por Sophia Loren

Orquesta Nacional Rusa
Dirigida por: Kent Nagano

PTC 5186 014

Spanish version not available as SA-CD but as CD only

Pedro y el lobo
y Wolf Tracks

Éste es un proyecto de colaboración único que demuestra el poder que tiene la música para unir a las personas. Se trata de un modelo de colaboración que es asimismo importante para la conservación de la flora y fauna, un problema complejo que transciende las fronteras nacionales. El emparejamiento de Pedro y el lobo de Prokofiev con una nueva composición, Wolf Tracks de Jean-Pascal Beintus —en una representación y en una grabación— es el resultado del compromiso de artistas, técnicos expertos, dirigentes mundiales y mecenas de las artes de muchos países. El proyecto fue creado por la Orquesta Nacional Rusa bajo la dirección artística de Kent Nagano.

En el cuento Wolf Tracks la imagen del lobo como criatura aterradora se convierte en la de la imperiosa necesidad de valorar y proteger los recursos naturales. Se trata de una perspectiva contemporánea que recalca la importancia de reconocer el punto de vista de los demás, un valor esencial a la hora de entender a las diferentes personas y culturas.

Con el apoyo de la Fundación de arte ruso, la Orquesta Nacional Rusa (ONR) encargó al compositor francés Beintus la partitura de la nueva pieza y seleccionó al galardonado escritor de televisión Walt Kraemer para escribir el libreto de la obra. Colaboradores del proyecto son Linda Whitaker, Martha Bredon y Hélène Grimaud, cofundadora del Wolf Conservation Center (Centro para la conservación de los lobos). Nagano dirigió la ONR en el estreno mundial de Wolf Tracks que tuvo lugar en agosto de 2002 en el Stern Grove Festival de San Francisco.

Desde el inicio, el objetivo no fue únicamente crear una magnífica obra artística, sino también recaudar dinero para un fin benéfico. Este enfoque no comercial, junto con los temas de tolerancia y concordia encarnados en Wolf Tracks, atrajeron a un reparto estelar para la siguiente fase: la grabación con sonido envolvente que llevaría el sello discográfico de PentaTone Classics.

Los narradores han designado, cada uno por su parte, una organización benéfica, a la que irán destinados los derechos de autor: Sophia Loren al Magic of Music (la magia de la música), el innovador programa de terapia artística para la juventud (patrocinado por la ONR), y Antonio Banderas a la asociación Save the Children Federation, Inc. Los fondos recaudados por la venta del CD se compartirán asimismo con el Wolf Conservation Center.

Las pinturas de la carátula y el folleto del CD son el trabajo de niños muy especiales que viven en orfanatos y centros para discapacitados moscovitas. Los dibujos fueron seleccionados entre los centenares de ellos que se expusieron en la exposición Cómo veo la música, un evento anual patrocinado por la ONR en el Conservatorio de Moscú.

Estos jóvenes artistas viven en difíciles y duras circunstancias y su arte, como la música, es testimonio de la magia que ejerce la expresión personal creativa.

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Yakov Kreizberg

The Russian-born American conductor Yakov Kreizberg currently holds the posts of Chief Conductor and Artistic Advisor of the both Netherlands Philharmonic Orchestra and the Netherlands Chamber Orchestra, as well as Principal Guest Conductor of the Vienna Symphony Orchestra. From 1995 to 2000, he was Principal Conductor and Artistic Advisor of the Bournemouth Symphony Orchestra. At the end of the 2000/01 season, he relinquished the post of Generalmusikdirector of the Komische Oper Berlin.
In demand across the globe, Yakov Kreizberg has conducted orchestras such as the Royal Concertgebouw, Leipzig Gewandhaus, Berlin Philharmonic, WDR Köln, NDR Hamburg, Staatskapelle Dresden, BBC Symphony, London Philharmonic, Philharmonia, Deutsches Sinfonie-Orchester Berlin, Bayerische Rundfunk and the Zürich Tonhalle. He has also been a frequent guest at the BBC Proms.
Within North America, Yakov Kreizberg regularly works with prestigious orchestras, including the Philadelphia Orchestra (with which he toured the Americas in 2003), Pittsburgh Orchestra, Cincinnati Orchestra, and Minnesota Orchestra: he has also conducted the Los Angeles and New York Philharmonic Orchestras, and the Chicago and Boston Symphony Orchestras.
Forthcoming plans include a tour of Spain, Germany and Switzerland with the Vienna Symphony Orchestra, the NHK Symphony and the Pacific Music Festival in Japan, London Symphony Orchestra, Orchestre de Paris and Munich Philharmonic.
As well as having recorded for Decca and Oehms Classics, Yakov Kreizberg’s collaboration with PentaTone Classics and the Netherlands Philharmonic Orchestra has been extremely successful – their fourth release, Tour de France, was issued in June 2005. Also with Pentatone Classics, Maestro Kreizberg has recorded an award-winning disc with Julia Fischer and the Russian National Orchestra, whilst his first recording with the Vienna Symphony Orchestra, Bruckner’s Symphony no. 7, has been nominated in two categories (including best orchestral performance) for the 2006 Grammy Awards.
Yakov Kreizberg established a fine reputation at the Komische Oper, Berlin in a wide variety of repertoire. Elsewhere, he has conducted for Canadian Opera, Lyric Opera of Chicago, English National Opera and, on a number of occasions, with the Glyndebourne Festival Opera. He has recently conducted Iolanthe with the Netherlands Opera and will return in 2007/08 for Janácek’s Katya Kabanova. As part of the 2004 Bregenz Festival, he conducted Kurt Weill’s Der Protagonist and Royal Palace with the Vienna Symphony Orchestra. The year 2006 includes performances of Macbeth at the Royal Opera House
Born in St Petersburg, Yakov Kreizberg studied conducting privately with Ilya A. Musin (the renowned Professor of Conducting at the St. Petersburg Conservatory), before emigrating to the United States in 1976. There, he was awarded conducting fellowships at Tanglewood with Leonard Bernstein, Seiji Ozawa, Erich Leinsdorf, and at the Los Angeles Philharmonic Institute. In 1986, he won first prize in the Leopold Stokowski Conducting Competition in New York.

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“Certainly not just another same old Mozart release for his 250th Anniversary - this is a superb interpretation and recording that easily stands up to any of the competition.”
--John Sunier, audophile audition

“Evident again is the combination of scrupulous attention to detail with a spontaneity that gives the music sparkle and wit.”
--Michael Kennedy, Sunday Telegraph

“Fischer's sound is lighter and leaner than Mutter's, her style of phrasing more poised, line being paramount, her vibrato quick but subtly deployed. The Third Concerto's Adagio is a model of sublime composure, the outer movements aided considerably by nicely characterised support from the Netherlands Chamber Orchestra under Yakov Kreizberg. “…I'd say that anyone on the look-out for a digitally recorded CD of Mozart violin concertos could hardly do better.”
--Robert Cowan , The Independent

“With smart and elegant support from the Netherlands Chamber Orchestra and Yakov Kreizberg this is a musically engaging and rewarding issue, one complemented by a naturally balanced recording, Fischer integrated with the orchestra – the only audiophile possibility when the soloist offers such wonderful true, clean and perceptive turns of phrase without egotistical dominance. Volume two please!”
--Colin Anderson, classicalsource.com

“Disc of the Month, BBC Music Magazine (September 2005)
"Fischer does it again....every note gives the impression of being there for a reason, articulated through attack,, dynamic, phrasing and timbre, but at the same time integrated into the whole." performance*****, sound*****

--Martin Cotton, BBC Music Magazine

“Astonishing maturity from this young player produces some magical Mozart. …. The SA-CD sound is superb.. and the qyality and integrity of Fischer’s playing bode well for future volumes.”
--David Vickers, Gramophone

“Playing the violin seems to be innate for Julia Fischer. Mozart is more than just the notes on the page and she knows that. Her phrasing, her effective use of dynamics and esthetic pauses, and her slow tempos give her music a spiritual quality. To put it simply, Julia Fischer is a true artist, absolutely, one of the "up-and-comers."
--Julie Amacher, Minnesota public radio

“Julia Fischer is another young violinist of prodigous talent and musicianship. Her elegant and stylish performances of two Mozart concertos with Yakov Kreizberg conducting complementary accompaniments will delight all who have admired the qualities which make her Bach exceptional. Evident again is the combination of scrupulous attention to detail with a spontaneity that gives the music sparkle and wit. She provides her own cadenzas in certain movements and in the Adagio K. 261 and the Rondo K. 269 which complete this admirably recorded disk.
--Michael Kennedy, The Sunday Telegraph

“Fischer's sound is lighter and leaner than Mutter's, her style of phrasing more poised, line being paramount, her vibrato quick but subtly deployed.”
--Robert Cowan, The Independent

Julia Fischer

Born in 1983 in Munich, Germany, Julia Fischer is among the top violin soloists performing for audiences around the globe. Reviewers have described her as “not a talent, but a full-fledged phenomenal violinist,” have said “she takes your breath away,” is “worthy of a hailstorm of superlatives,” and has a “winning blend of steely assurance and unabashed lyricism”.
Julia Fischer has worked with such internationally acclaimed conductors as Lorin Maazel, Christoph Eschenbach, Yehudi Menuhin, Giuseppe Sinopoli, Bernhard Klee, Asher Fish, Marek Janowski, Jeffrey Tate, Simone Young, Herbert Blomstedt, Yakov Kreizberg, Rafael Frühbeck de Burgos, Jukka-Pekka Saraste, Neville Marriner, David Zinman, Michael Tilson Thomas, Mikhail Jurowski and with a variety of top German, American, British, Polish, French, Italian, Swiss, Dutch, Norwegian, Russian, Japanese, Czech and Slovakian orchestras. Julia Fischer has performed in most European countries, the United States, Brasil and Japan; in concerts broadcast on TV and radio in every major European country, as well as on many US, Japanese and Australian radio stations.
In 2003 Julia Fischer – already for six years present in US concert halls at that time – appeared with the New York Philharmonic unter the baton of Lorin Maazel playing the Sibelius Violin concerto in New York’s Lincoln Center as well as the Mendelssohn Violin concerto in Vail, CO. Her 2003 Carnegie Hall debut received standing ovations for her performance of Brahms Double concerto with Lorin Maazel, Ha–Na Chang and the Bavarian Radio Symphony Orchestra. Julia Fischer has been on orchestral tours with Neville Marriner and the Academy of St. Martin in the Fields, Herbert Blomstedt and the Gewandhaus Orchestra, the Royal Philharmonic Orchestra and the Dresden Philharmonic.
Her chamber music partners include Christoph Eschenbach, Jean–Yves Thibaudet, Daniel Müller–Schott, Tabea Zimmermann, Gustav Rivinius, Lars Vogt, Oliver Schnyder and Milana Chernyavska.
In fall 2004 the label PentaTone released Julia Fischer’s first CD: Russian violin concertos with Yakov Kreizberg and the Russian National Orchestra. It received ravishing reviews, climbed into to the top five bestselling classical records in Germany within a few days and received an “Editor’s Choice” from “Gramophone” in January 2005.
Julia Fischer began her studies before her fourth birthday, when she received her first violin lesson from Helge Thelen; a few months later she started studying the piano with her mother Viera Fischer. Julia Fischer began her formal violin education at the Leopold Mozart Conservatory in Augsburg, under the tutelage of Lydia Dubrowskaya. At the age of nine Julia Fischer was admitted to the Munich Academy of Music, where she continues to work with Ana Chumachenco.
Among the most prestigious competitions that Julia Fischer has won are the International Yehudi Menuhin Violin Competition under Yehudi Menuhin’s supervision, where she won both the first prize and the special prize for best Bach solo work performance in 1995 and the Eighth Eurovision Competition for Young Instrumentalists in 1996, which was broadcast in 22 countries from Lisbon. In 1997 Julia Fischer was awarded the “Prix d‘Espoir” by the Foundation of European Industry.
Her active repertoire spans from Bach to Penderecki, from Vivaldi to Shostakovitch, containing over 40 works with orchestra and about 60 works of chamber music.
Julia Fischer’s instrument is of Italian origin made by Jean Baptiste (Giovanni Battista) Guadagnini in 1750.

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Russian National Orchestra

The Russian National Orchestra has been in demand throughout the music world ever since its 1990 Moscow première. Following the orchestra’s 1996 début at the BBC Proms in London, the Evening Standard wrote: “They played with such captivating beauty that the audience gave an involuntary sigh of pleasure.” In 2004, they were described as “a living symbol of the best in Russian art,” (Miami Herald), and “as close to perfect as one could hope for,” (Trinity Mirror).
The first Russian orchestra to perform at the Vatican and in Israel, the RNO maintains an active international tour schedule, appearing in Europe, Asia and the Americas. The orchestra is a frequent guest at major festivals, and since 1999 has given an annual concert series in the USA. Popular with radio audiences world-wide, RNO concerts are regularly aired by National Public Radio in the United States and the European Broadcasting Union.
Gramophone magazine called the first RNO CD (1991) “an awe-inspiring experience; should human beings be able to play like this?”, and listed it as the best recording of Tchaikovsky’s Pathétique in history. Since then, the orchestra has made more than 50 recordings for Deutsche Grammophon and PentaTone Classics, with conductors who include RNO Founder and Artistic Director Mikhail Pletnev, Vladimir Jurowski, Mstislav Rostropovich, Kent Nagano, Alexander Vedernikov and Paavo Berglund.
The orchestra signed a new multi-disc agreement with PentaTone Classics in 2003. One of the first results of this collaboration – a recording of Prokofiev’s Peter and the Wolf and Beintus’ Wolf Tracks, conducted by Kent Nagano – was the winner of a 2004 Grammy Award, making the RNO the first Russian orchestra ever to win the recording industry’s highest honour.
Unique among the principal Russian ensembles, the RNO is independent of the government and has developed its own path-breaking structure. Artistic policy is shaped and guided by the RNO Conductor Collegium, a group of internationally renowned conductors who share the podium leadership. Another RNO innovation is Cultural Allies, an ongoing programme encompassing exchanges between artists in Russia and the west, and the commissioning of new works.
The Russian National Orchestra is supported by private funding and is governed by a distinguished multinational board of trustees. Affiliated organizations include the Russian National Orchestra Trust (UK), the Russian Arts Foundation and American Council of the RNO.

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Serge Prokofiev (1891-1953) Pedro y el lobo narrado en español por Antonio Banderas
1	Introducción	1. 42
2	Pedro y el lobo	23. 06

Jean-Pascal Beintus (nacio en 1966) Wolf Tracks (Las huellas del lobo) narrado en español por Antonio Banderas
3	Wolf Tracks	18. 20
	(Las huellas del lobo)

Serge Prokofiev Pedro y el lobo narrado en inglés por Sophia Loren
4	Introducción	1. 39
5	Pedro y el lobo	23. 30
Tiempo total de reproducción:		68. 32