O’Riley’s LISZT, Blu-ray (2013)

by | Mar 1, 2014 | DVD & Blu-ray Video Reviews

O’Riley’s LISZT,  Blu-ray (2013)

Program: WAGNER: Prelude & Liebestod from Tristan und Isolde; SCHUMANN: Fruhlingnacht; MOZART: Don Juan Fantasy; SCHUBERT: Fruhlingsglaube; BERLIOZ: Symphonie Fantastique
Performer: Christopher O’Riley, piano
Studio: Oxingale Records Blu-ray OX2021
Video: 9:16 HD 1080p color
Audio: 24-bit Stereo, DTS-HD MA 4.0 Surround
Subtitles: German, English, French, Spanish, Korean, Chinese
Bonus: “The Bells of Berlioz”
Length: 84 minutes
Rating: ****

This is a Blu-ray video of the album that Gary Lemco reviewed in July 2013. I have not heard that double CD issue, but can only assume that the sound here, in four-channel surround and of very high digital quality, has to be better than what he had in hand on the CD. This is not to say what the sound is actually like on the CD set—Lemco doesn’t mention it, so overwhelmed he is by the quality of O’Riley’s playing—but I must say that the things mentioned in that review regarding the special pianistic techniques of Liszt, as well as O’Riley’s own tinkering and abilities to present these phenomenally difficult transcriptions, which amount to rewritings in some cases, come across with brilliant presence and a flood of gorgeous pianistic flourishes. Lemco speaks the truth in terms of the quality of this release.

I can’t say that I discount the enormously entertaining and classically-oriented recording by Glenn Gould of the Symphonie Fantastique–it gives up nothing to this version. The two are unbelievably different, but Gould brings a special magic as well, though nowhere near the spectacular sound. If forced to choose, I would say that O’Riley probably plays this music more like Liszt did, and Gould as, well, Gould. But for many that is a treat unto itself. Nevertheless O’Riley’s achievement is significant, and these recordings really should be heard. [The various Liszt and other transcriptions of the Beethoven symphonies for piano are worth hearing too…Ed.]

The video portion is rather haphazard and uninteresting, moving from the pianist playing to scenes of him walking through a field, etc., which are really quite bothersome. They should have just focused on O’Riley and his wonderfully fluid technique. Do sample this recording one way or another. Audiophiles will want this one.

—Steven Ritter

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