In the Symphonic Dances and the new suite, the RIO delivers a performance of high caliber, featuring superb solos, excellent coordination, and tight ensemble playing. I conclude that the poor quality of the previous Rachmaninoff concerto recording was the fault of either Nagano or insufficient rehearsal time.

Pletnev’s new version of the Symphonic Dances differs significantly from his earlier recording with the RNO on DG; Pletnev now views Rachmaninoff’s final opus as an intimate, chamber-like work. The score is laid bare with X-ray precision, revealing a remarkably clear texture—I have never encountered such distinct separation between the strings (acting as a backdrop to provide the dance-like feel) and the winds (serving as the primary storytellers). The climaxes are muted (a recent trend in Pletnev’s interpretations), yet the tempos are spot-on, and the dance rhythm is consistently maintained. It struck me that, with such clarity and textural transparency, Pierre Boulez (if he ever cared) might have approached the Symphonic Dances in a similar way. I enjoyed the performance, it offers a fresh, unconventional perspective. I hope Pletnev records the symphonies again as well.

The movements of the Rachmaniana suite are selected with taste and a unified thematic concept; they are generally subdued, with a distinct dance-like character — only the final Hungarian Dance stands out for its energy and verve. Any orchestration of Rachmaninoff’s piano works inevitably invites comparison with Ottorino Respighi’s orchestration of the Études-Tableaux (which is, in itself, a masterpiece and a masterclass in orchestration). In a direct comparison, I would describe Pletnev’s orchestration as economical—even austere—yet it remains a suite of considerable interest, worthy of recording and repeated listening.

The sound is impressive (I listened to the SACD Stereo layer); every nuance of the orchestra’s playing is realistically captured, offering a "conductor’s-eye view" perspective (one can occasionally hear him humming, though certainly not at the level of Glenn Gould), and avoiding artificial highlighting of specific sections or soloists. The recording was produced by Polyhymnia.