Tchaikovksy: Francesca da Rimini

[@ronaldwilliams9266]

I love the clarity of the structure and layout. The conductor conducts with great clarity. And to me there is no deviation from this imprint of his, making this a stunning performance.

[@TheVaughan5]

I regret to say this because the Philharmonia is such a fine orchestra, however this has to be overall the most lifeless performance of this great work that I’ve ever heard. A few years ago I encountered one of the best, conducted by Alpesh Chauhan, the performance here is like listening to a different work.

[@bomcabedal]

I have to agree; a weirdly stilted performance, played way too safe. Compare it to the old dictator: kzbin.info/www/bejne/omHLoH5_ZaaebNk

[@davidspence1404]

Igor Markevitch once conducted this music with Philharmonia and also with the LSO. Seeing someone stand up in front of the Philharmonia to practice conducting Tchaikovsky's Francesca da Rimini is shameless!

[@MisterPathetique]

I couldn't agree more, this is by far the most boring, anemic, underpowered performance of this piece I've ever heard. And this is unfortunately a very common issue with Francesca da Rimini, but this one is really particularly bad. And honestly it's not that complicated. The piece basically consists of inferno, love, and then more inferno. But you need to conduct it with your guts, it's Tchaikovsky for heaven's sake! It should be wild, hysterical and passionate, but here you get none of that. Even the orchestra looks bored. The descending chromatic scales at 26:49 are a case in point. They're not meant to be beautiful, in fact they're quite ugly, because they should sound like being sucked in the flames of hell. But where's hell in this completely smoothed out performance? Just compare with Svetlanov, Markevitch, Rozhdestvensky, there's a world of difference. Santtu-Matias Rouvali should stick to the repertoire he's good at (Sibelius, basically) because he clearly doesn't have the fire in his belly to conduct Tchaikovsky.

[@joachimakerlind4453]

To young! A boy who doesn’t know the piece - he should go back to school

[@mrhassell]

Has more to do with the recording, than the production. Indeed, it lacks three fundamental elements depth, character and tone. Commonly a result of inaccurate compression, which can be applied pre or post-production (video optimised for KZbin, as an MPEG audio stream or mp3), or from a combination of the recorded (real) vs encoded (scaled) sonic mismatch (more 'likely' than 'possibly', decided on purpose). The resulting undesirable offset perceived to the ear as in this case, sounds sonically flat. False suspension of harmonic character. In Simpe Harmonic Motion, the restoring force is created due to acceleration of the body and resulting wave oscillations. Opposing frequencies creates multiple potential states, some additive and beneficial to tone and harmonic character or as perceived, the opposite. Most commonly seen methods of subtractive or destructive processing exist, something achieved simply by downsampling, but may also be enhanced by use of flawed audio codecs or specified as values in encoding. Ever increasingly a common technique per governance, perceived as an acceptable measure, that is being made to combat piracy. However, in effect demonstrated to encourage high-quality audio 'ripped' (artwork, lyrics, content) of a single product, free to download via illegal syndication, in theatrical consistency. Engineers provide an instance for free, promotional use. Encourages purchase of the superior production, with unlimited sonic range and depth, near the extreme of human perception. Incredible characteristics and high audio wizardry, are the result of unrivalled technical ability, now viable to meet previously impossible sonic fidelity or levels of precision. Evidently, for comprehensible reasons, the high-quality version is offered for commercial sale. This didn't happen before 1999-2000, as digital encoding technology didn't exist as yet, or being an accepted medium having yet to mature to reach today's commercial acceptance. The "Millennium Bug", a CMOS clock change made to the World's computers, cost around $300 - $600 Billion. Roughly the same amount lost as a result of piracy since the year 2000. Annual global revenue losses from digital piracy in 2024, are estimated to be between $40 and $97.1 billion, solely in the movie industry. Illegal downloads of copyrighted material account for 24% of the World's annual data bandwidth.

[@Greathanno]

0:40 I. Andante lugubre 4:42 II. Allegro vivo 10:23 III. Andante cantabile non troppo 23:34 IV. Allegro vivo Thank you for this wonderful performance. I hope to see you in Korea.

[@chasfleming]

I’ve absolutely no idea how the orchestra can follow the conductor who conducts in circles, makes this performance even more remarkable.

[@JohnPeden-y5f]

Couldn't agree more

[@mrhassell]

He is a conductor, exclusively a rhythmic guide and structure director. Each of these highly accomplished musicians already knows exactly where and when to play, musicians who could play the required parts in this composition, likely without anyone even present or standing there, while having both of their eyes closed and sipping gin slings.

[@mogi_2749]

Because theyre also listening to each other. There are chamber orchestras which are orchestras with no conductor.

[@Altonahh10]

This work quickly becomes quite a mash if it is not clearly structured. The inner tension must literally tear you apart, and that doesn't really work here. I heard it yesterday with the Berliners under Petrenko and it was a different work that sounded eruptive and merciless. Tchaikovsky can be more than a harmless but superfluous composer for the development of music history, but few conductors are able to show that.

[@davidevans3227]

big Tchaikovsky fan thanks for that.. this is a difficult work i think but i'm not familiar with the story apart from the outline

[@crypthat3075]

Then we were probably together in the hall in Berlin. 😂 I was there too, and I was completely blown away.

[@richdisilvio4591]

The same happens with Liszt's Dante Symphony and Faust Symphony.... many conductors don't have what it takes to truly get the profound emotional aspects of music like this. You can't just beat time, you need a bloody heart!

[@mrhassell]

Indeed, Rouvali is an extraordinary talent.

[@madalsamamgain6779]

How could you not fall in love with this?! It's stunning!!

[@montymonto6430]

It takes a genius to write this music then between the members of the orchestra hundreds years of education, hundreds of years of playing and practice, then tens if not hundreds of hours of rehearsals to create this kind of music.

[@Boltogenta]

I agree, that fascinates me. Also, the engineering. A great performance for my taste!

[@jessedennerlein9746]

That is an amazing piece of music, thanks so much for sharing that.

[@philharmonia_orchestra]

Thank you Jesse, so glad you enjoyed.

[@LiquidDaylight]

My sister took me to see the Calgary Philharmonic when I was but 18. They played this (The ~~heavy metal~~ Devin Townsend of classical music). I love my sister dearly. I still listen to this piece over and over again. FFS. ❤❤❤

[@runningman370]

Stunning performance. So very profound and beautiful. Such talent. Thank you all

[@philharmonia_orchestra]

Thanks for listening!

[@mrhassell]

Pyotr Ilyich Tchaikovsky used Canto 5 of Dante’s Inferno for this dramatic orchestrally toned poem, composed in 1876. Originally, as intended for Opera. One of the greatest Russian composers, Santtu-Matias Rouvali captures completely conducting the Philharmonia Orchestra, in this superb rendition of Francesca da Rimini.

[@kingalou1]

Bravi tutti!💐👏 Thank you so much for sharing ❤

[@sergiomig21]

Cinema - Paul Newman and Julie Andrews as they play an atomic physicist and his assistant escaping from the DDR in Hitchcock's “Torn Curtain”(1966). In the climactic scene involving the ballet at the East Berlin theatre, the Russian ballerina dances excerpt from Tchaikovsky's Francesca da Rimini. This was my first contact with this exceptional work by the Russian composer.

[@lowe7471]

Would be great if you streamed all of your concerts at Southbank...even if only by subscription...so much good music.

[@naren5352]

10:23 is the best part! I just watched it alive and was stunned!!!

[@claudiaochoacruz]

Wow!! What a beautiful performance!! Thank you!!

[@philharmonia_orchestra]

Glad you liked it!

[@paulocordaro8748]

No power! Listen to Stokowsky

[@davidevans3227]

doing this Francesca? thankyou

[@mrhassell]

Plenty of power. The dynamics are missing on KZbin (encoded that way on purpose). Consider buying the lossless audio and you will most likely not say the same.

[@BalbirSingh-gr2qk]

Nice work 👍

[@philharmonia_orchestra]

Thank you! Please subscribe to keep up with all of our releases!

[@kennethstones4837]

WONDERFUL

[@G50Oliveira]

12:26❤ 22:08❤

[@daviddarrall9384]

Strings - just Sublime! UK

[@bomcabedal]

Not for me, sorry. Too slow and much, much too timid. Also, percussion is nearly inaudible in the climaxes.

[@crypthat3075]

I couldn’t agree more. I was in Berlin recently and this piece was played by Berlin Philharmonic and Petrenko.I must say that was a completely different world. So much energy, tempo, flaire and emotion. it can still be seen at the digital concert hall. For me this feels a little like just playing it trough. At the other hand, the orchestra sounds like they can play it as good as Berlin. But in this performance, I miss a lot.

[@sergiomig21]

It's funny. I've just listened to Kirill Petrenko's recording with the Berlin Philharmonic, and I have to say that I was no more moved than when I listened to Santtu-Matias Rouvali's recording with the Philharmonia Orchestra. I found the tempo too fast, both in the martyrdom theme (piu mosso moderato) and in the storm theme (Allegro Vivo), followed by a poorly placed ritenuto.@@crypthat3075

[@gusandsup9828]

My homework was to watch this. We’re reading inferno in class

[@ManuelMartinez-hu7bx]

Pues no entiendo nada de tecnica directorial y tampoco de musica aunque me apasiona y esta interpretacion me ha parecido muy buena, sin duda una orquesta excelsa, un trabajo de orquesta y director de primerísimo nivel, trabajando la obra timbricamente con todo lujo de detalles y sacando a relucir detalles que en otras versiones no se oyen, si es cierto que me parece un poco lenta esta version, pero eso tambien va en gustos, aunque como digo el trabajo de la obra a todos los niveles, instrumental, timbrico y de claridad de planos sonoros me ha parecido muy muy buena. Gracias.

[@nss4472]

Can you correct the Composer's Name, PLEASE?

[@travismclaurin9419]

Seems like Tchaikovsky was mad composing this.😮

[@vesalehtinen6178]

Hyvä Santtu!!!

[@ninotkabladze7448]

❤

[@friday7434]

Could some one tell me the name of the 1st flutist, please?

[@philharmonia_orchestra]

Samuel Coles!

[@30sandrita1]

Well, that performance is not scary at all. I used to get scared whenever I was listening to Francesca, but what is this now? How did they manage that? It's not the tempo. It's something else. I can't figure it out. Maybe dinamics. They play pretty flat. I don't know. Hell is not scary here. 🥴

[@andreaaguilar9195]

1- 2:04 2- 5:18 3- 6:00 4- 19:50

[@TGC40401]

I consider myself to be an up-and-coming composer, this was powerful.

[@EscapeOrdinary-TheWoodlands]

I suspect that the harsh negative comments here are from viewers who, like me, didn't like the conductor from a visual aspect and allowed that to color their perception of the orchestra's performance which was fine if not extraordinary.

[@jorgerojas2525]

Magnificent version and performance

[@philharmonia_orchestra]

Thanks Jorge, glad you enjoyed it!

[@선율-g6e]

15:52 19:53

[@christophercompton274]

I don't understand his conducting technique. All those circles one way and then the other way. Where is the 3/4 beat pattern? I am wondering what the music colleges are teaching in their conducting classes these days.

[@pprudencio1966]

I wouldn’t say “these days,” since a lot of really big named older conductors like Karajan, Furtwangler, and Gergiev (more contemporary but point still stands) aren’t exactly known for their crystal clear technique. In the end, what matters is the result, and if the orchestra can follow the conductor like they did here, should it really matter how textbook the technique is? Not trying to imply anything bad here, but different conductors have always had their own way of beating time, in a sense.

[@nigelmorley5414]

None of this work is in 3/4 !

[@tombonespilbo]

I don't know which score you've been looking at, but none of the piece is in 3/4. It is in 4/4 to begin with, then 6/8 and 4 again for the slow bit then 6/8 and in 2 to finish. His technique seems to work well with the Philharmonia and other orchestras he has conducted. Some conductors trust the orchestra to play in the time enough to let him shape music instead of religiously beating beats.

[@libelle176]

As a 42 year orchestra veteran.......I don´t need a 3/4 beat pattern.My 3 year old godchild can do that. I am a fine musician myself.playing in afirst rate orchestra...We don´t need a traffic cop..We nees an inspirational force with a clear musical concept...Sanntu does this in spades.

[@peterwimsey5904]

Franz Liszt as accomplished a violinist as pianist

[@Rosenbar731]

Played way too slow.