Of the rarities presented in this unusual Russian music collection, the most tantalizing is Gliére’s Concerto for Coloratura Soprano and Orchestra. Judging by the slight surface noise, it sounds as if this transfer could have been made from an LP. No matter, the sound is fine, and Joan Sutherland sings radiantly, pouring out beguiling tone throughout her range, while her trademark trills are put to good use by Gliére’s vocal writing, which isn’t particularly original, especially considering it was composed in 1943. The same can be said for Gliére’s 1938 Harp Concerto: beguiling solo writing set against standard-fare 19th-century orchestral accompaniment.

There are many different musical "Seasons" aside from Vivaldi's, and next to Haydn's oratorio of the same name, this is probably the most famous example. The complete ballet is of modest length–only 40 minutes or so–and the autumn "Bacchanal" contains what is probably the catchiest tune that Glazunov ever wrote. You'll probably think that you've heard it before, but can't quite figure out where. Neeme Jarvi is always at his best in big, splashy Romantic pieces, and this performance is no exception. He whips the orchestra up to a fine frenzy where necessary, and given Chandos's fine sound and a sensible coupling, you're in for some good listening.

This compilation covers 20 years of live recordings made by conductor Yevgeny Mravinsky and the then-named Leningrad Philharmonic Orchestra for Erato. Mravinsky led that orchestra for nearly 50 years, from 1938 until his death. His last recording was that of Shostakovich's Symphony No. 12, made in 1984, found on Disc 3 here. His interpretations of Shostakovich and Tchaikovsky were highly regarded, so it's not surprising that several of their symphonies are here. There are also symphonies by Mozart and Beethoven in this set; tone poems by Tchaikovsky and Mussorgsky; and orchestral excerpts from operas by Wagner, Glinka, and Glazunov. The final disc contains a rare recording of a rehearsal led by Mravinsky, something few outsiders were ever allowed to witness. Even though he was an elder statesman of Russian music at the time of these recordings, there is still precision and energy in his interpretations.

This Chandos release is the second such prizewinners’ showcase from Yuli Turovsky’s Orford International Competition, the winners being invited to commit their respective concertos to disc with I Musici de Montreal. The result is an attractive coupling of three lesser-known works performed with freshness and enthusiasm. The programme makes a logical sequel to last year’s Glazunov/Arensky coupling, although the Glazunov will not be to everyone’s taste. The Yamaha piano is hard-edged and uneven in tone, and it is used by Herskowitz to hammer home the musical arguments in the grand manner.

These early recordings (1950-52) were made while Sviatoslav Richter was still playing this kind of virtuoso Russian music, an area he largely abandoned later in his life. If you enjoy the trivial Rimsky and Glazunov concertos, you'll get a real kick out of the colorful virtuosity of these performances, pretty well conveyed by the recordings although they don't really do justice to Richter's tone. But Richter did make another recording of the Prokofiev, with Karel Ancerl, which is currently available on Supraphon and has a much better orchestra. In either case, the pianist gives this insouciant music all the juice it needs.

The last great work from the glorious era of the Imperial ballets has never before been performed by the La Scala ballet. Its La Scala premiere marks the most faithful version of Raymonda yet to the original, which met with triumphant success in St. Petersburg in 1898.