Prokofiev
Nemanja Radulović
Prokofiev is Nemanja Radulović’s 2026 Warner Classics album devoted entirely to Sergei Prokofiev, conceived as a wide‑angle portrait rather than just a single concerto disc. Across 23 tracks and about 90 minutes, he moves from major concert repertoire—the Violin Concerto No. 2 in G minor, Op. 63—to more intimate chamber and solo works, including the Five Mélodies, Op. 35bis, the solo Violin Sonata in D major, Op. 115, and a series of virtuoso arrangements from Romeo and Juliet, Cinderella, the “Classical” Symphony, and the March Op. 89. Radulović appears both with orchestra (the Philharmonia under Santtu‑Matias Rouvali) and in smaller settings with pianist Laure Favre‑Kahn, fellow violinist Johan Dalene, and his ensemble Les Trilles du Diable, giving the album a deliberately varied, almost suite‑like structure.
Stylistically, the recording emphasizes Prokofiev’s contrasts: biting sarcasm and rhythmic drive sit alongside lyrical tenderness and dream‑like nostalgia. Critics highlight the introspective, almost chamber‑like approach to the Concerto No. 2, the characterful miniatures drawn from Romeo and Juliet (“Montagues and Capulets,” “Mercutio,” “Tybalt’s Death”) and Cinderella (“Mazurka,” “Grand Waltz”), and the singing, voice‑like treatment of the Mélodies and “Songs without Words.” Taken together, Prokofiev functions as a curated journey through the composer’s world—charting his movement between West and Soviet Union, stage and concert hall—filtered through Radulović’s highly individual, coloristic playing and a strong emphasis on narrative and atmosphere.
Prokofiev
Nemanja Radulović
Prokofiev is Nemanja Radulović’s 2026 Warner Classics album devoted entirely to Sergei Prokofiev, conceived as a wide‑angle portrait rather than just a single concerto disc. Across 23 tracks and about 90 minutes, he moves from major concert repertoire—the Violin Concerto No. 2 in G minor, Op. 63—to more intimate chamber and solo works, including the Five Mélodies, Op. 35bis, the solo Violin Sonata in D major, Op. 115, and a series of virtuoso arrangements from Romeo and Juliet, Cinderella, the “Classical” Symphony, and the March Op. 89. Radulović appears both with orchestra (the Philharmonia under Santtu‑Matias Rouvali) and in smaller settings with pianist Laure Favre‑Kahn, fellow violinist Johan Dalene, and his ensemble Les Trilles du Diable, giving the album a deliberately varied, almost suite‑like structure.
Stylistically, the recording emphasizes Prokofiev’s contrasts: biting sarcasm and rhythmic drive sit alongside lyrical tenderness and dream‑like nostalgia. Critics highlight the introspective, almost chamber‑like approach to the Concerto No. 2, the characterful miniatures drawn from Romeo and Juliet (“Montagues and Capulets,” “Mercutio,” “Tybalt’s Death”) and Cinderella (“Mazurka,” “Grand Waltz”), and the singing, voice‑like treatment of the Mélodies and “Songs without Words.” Taken together, Prokofiev functions as a curated journey through the composer’s world—charting his movement between West and Soviet Union, stage and concert hall—filtered through Radulović’s highly individual, coloristic playing and a strong emphasis on narrative and atmosphere.