Reaching the highest level of prominence as both pianist and conductor, Mikhail Pletnev is a major figure on the contemporary Russian musical scene. He is also a prolific composer and a competent amateur violinist.

Pletnev was born on April 14, 1957, in Archangelsk in the far north of what was then the Soviet Union. His family was musical; his father played and taught the bayan button accordion, and his mother was a pianist. When the family moved to Kazan in Russia's Tatarstan region, Pletnev began piano studies with Julia Shaskin. He moved to Moscow at 13 to study at the Moscow Central Music School with Evgeny Timakin, and a Grand Prix at the Jeunesses Musicales International in 1945 proved to be the first in a long series of prizes for the young pianist. At 15, Pletnev moved to the Moscow Conservatory for studies with Yakov Flier, whose teaching propelled him to gold medals in two of the Soviet Union's toughest events, the All-Union Competition in 1977 and the Tchaikovsky Competition in 1978. Pletnev launched a touring career that went fully international as restrictions on Soviet musicians loosened in the 1980s. His fluent, elegant style was sometimes likened to those of Arturo Benedetti Michelangeli and even Vladimir Horowitz. He made his recording debut in 1988 on the Virgin Classics label with Rachmaninov's Piano Concerto No. 1 in F sharp minor, Op. 1, and Rhapsody on a Theme of Paganini, Op. 43, with the Philharmonia Orchestra.

In the late '80s, Pletnev struck up an acquaintance with Soviet head of state Mikhail Gorbachev, who aided him in founding the Russian National Orchestra in 1990; it was the first privately funded orchestra in Russia since 1917. The new orchestra, with Pletnev as conductor and artistic director, was successful from the start. It toured the U.S. in 1992 and 1993. In 1994, he moved to Deutsche Grammophon, recording Rachmaninov's Symphony No. 2 in E minor, Op. 27, as conductor of the Russian National Orchestra. His repertory runs from Scarlatti to Rachmaninov, with whom he is especially identified; he is a superb Mozartian and a strong interpreter of a variety of Russian works, but he rarely performs contemporary music.

From the early '90s forward, Pletnev performed somewhat less often as a pianist, although he continued to record both as a pianist and conductor. He stepped down as the Russian National Orchestra's conductor in 1999 but continues (as of 2022) to hold the position of artistic director and to conduct the group occasionally. In the 2010s, he and the Russian National Orchestra often recorded for PentaTone Classics, and in 2022, he moved to Profil, leading the Russian National Orchestra and violinist Ivan Pochekin in violin concertos by Tchaikovsky and Glazunov. By that time, his recording catalog numbered well over 100 items. ~ James Manheim

London's Philharmonia Orchestra is generally considered one of Britain's top symphonic ensembles and has sometimes been named as the very best. Formed by recording executive Walter Legge at the end of World War II, the orchestra benefited from the presence of several top Continental conductors in its first years and has generated an impressive recording catalog from the very beginning. Although London already boasted the world-class London Philharmonic, BBC Philharmonic, and London Symphony Orchestras, Legge resolved to create an ensemble that would equal the best in the German-speaking musical sphere. To this end, he recruited top young musicians (some 60 percent of the players were still serving in the British armed forces at the beginning) and, after he was turned down by friend Thomas Beecham, a roster of star German conductors. These included Wilhelm Furtwängler, Richard Strauss, Herbert von Karajan, and Otto Klemperer. At first, Legge avoided the appointment of a permanent conductor, and the players learned to produce superb results under several different kinds of artistic leadership.

Primarily a recording ensemble at first, the Philharmonia began giving concerts that were often innovative in content. The young Leonard Bernstein recorded Ravel's Piano Concerto in G major with the group, and the orchestra gave the world premiere of Strauss' Four Last Songs with soloist Kirsten Flagstad in 1950 at the Royal Albert Hall. In the mid-'50s, Furtwängler died and Karajan departed for Berlin; Legge appointed the 74-year-old Klemperer conductor for life. Klemperer's performances were often idiosyncratic but just as often brilliant, and many of his recordings with the Philharmonia remain in print. A complete cycle of Brahms symphonies under Klemperer was reissued by the firm Broken Audio in the 2010s.

The orchestra ran into trouble in the early 1960s as financial problems arose and several of its best musicians, including hornist Dennis Brain, met untimely deaths. Legge attempted to disband the group in 1964, but the players, encouraged by Klemperer, formed the New Philharmonia Orchestra and continued to perform. The orchestra performed at the Beethoven bicentennial in Bonn, West Germany, in 1970. That year, Lorin Maazel was appointed associate principal conductor to reduce the workload of the aging Klemperer, but he clashed with the orchestra members, who had maintained a self-governing structure. Instead, Riccardo Muti was appointed chief conductor in 1973. Four years later, the original name was restored.

Under Muti, the orchestra often recorded opera and entered upon what was widely regarded as a second golden age. In 1981, under conductor Kurt Sanderling, the Philharmonia made the first digital recording of Beethoven's complete symphonies. Muti was succeeded in 1984 by Giuseppe Sinopoli, whose performances of key British repertory such as the works of Elgar were criticized, but who extended the orchestra's reach in Italian opera. Christoph von Dohnányi ascended the podium in 1997 and took the orchestra on tours of continental Europe and, in 2002 and 2003, to a residency in New York. Bicontinental Finnish conducting star Esa-Pekka Salonen became chief conductor in 2008 and has continued to maintain the orchestra's high standards; his departure was announced for the year 2021, creating an opening at the very top level of English music-making. The Philharmonia continued to record for EMI after Legge's departure but moved to Deutsche Grammophon under Sinopoli and has since recorded for a large variety of labels. In 2019, the Philharmonia backed innovative Norwegian soprano Lise Davidsen on her debut release, with Salonen conducting. ~ James Manheim

One of Russia's ranking conductors of the new millennium, Vladimir Fedoseyev has worked extensively in Central Europe during the second phase of his career. As chief conductor of the Vienna Symphony Orchestra since 1997, he has brought a new intensity to the city's often underrated second orchestra. During his years as chief conductor of the Tchaikovsky Symphony Orchestra, Fedoseyev gained a reputation for achieving a balance between passion and musical integrity. A frequent guest at the Zürich Opera, he has won many admirers as an opera conductor, a component of his career further bolstered by successful appearances at the Bregenz Festival.

After receiving his initial training at Leningrad's Mussorgsky School, Fedoseyev continued his studies at the Gnessin Academy where he was at first a part of the bayan class. Upon graduation from the academy in 1957, Fedoseyev pursued graduate studies at the Moscow Conservatory where he worked with Leo Ginzburg. After a decade of directing a folk orchestra, Fedoseyev came under the guidance of Yevgeny Mravinsky, conductor of the Leningrad Philharmonic Orchestra. Following a 1971 meeting, Mravinsky took an interest in his young colleague and began a mentoring process that resulted in guest engagements with the LPO and other Russian orchestras, and in 1974, appointment as chief conductor of the Tchaikovsky Symphony Orchestra of Moscow Radio, an ensemble with which the conductor has continued to work.

During his long tenure in Moscow, Fedoseyev was invited as a guest by such other orchestras as the Orchestre Philharmonique de Radio France, the RSO Stuttgart, the Hamburg Staatsorchester, and the Orchester des Bayerischen Rundfunks. He was, in addition, made first guest conductor by the Tokyo Philharmonic Orchestra. Aside from Zürich, the opera houses of Milan, Rome, Vienna, and Florence sought his services. Fedoseyev's direction of the 50th anniversary Bregenz production of Rimsky-Korsakov's Tale of the Invisible City of Kitezh was critically acclaimed both in live performances and through the recording derived therefrom.

In Vienna, Fedoseyev mastered the Middle European repertory to the satisfaction of discriminating listeners, while in Moscow he has introduced modestly priced concerts to serve the needs of those cast adrift by an uncertain Russian economy. An American tour with the Vienna Symphony Orchestra in November 2000 resulted in many laudatory reviews for Fedoseyev and his players.

He conducted Janácek's Cunning Little Vixen in Bregenz in 2003 and continued on with other efforts with the Dresden and Oslo philharmonics and debuts with the Cleveland, Detroit, and Pittsburgh symphonies. His recordings include the works of Tchaikovsky, Mussorgsky, and Mendelssohn.