The two-part special ping-pongs between Hazlewood's analysis of Tchaikovsky's music (frequently with performances augmenting the discussion) and some nice recreations of what was actually going on in the master's life at various times. Starting at the end of his life, after the ill-fated premiere of the Pathetique Symphony (Tchaikovsky conducted and was dead just a few days later), and then quickly cutting back to Tchaikovsky's unhappy childhood, Hazlewood attempts to present some psychological underpinnings for the homosexuality that would torment the composer for the bulk of his adult life.

Moral Majority members and other evangelical types are most likely going to be aghast at the sometimes explicit behaviors depicted here (man to man oral sex is at least done in shadow), so you are forewarned if that sort of information is not to your personal liking. That said, Tchaikovsky's own self-loathing over his "aberrant" (not to mention abhorrent by societal standards of that day) behavior helps to show the conflicted psyche behind music that is more often than not melancholic.

Hazlewood makes some cogent points about Tchaikovsky having become so popular after his death that his music is often seen as a sort of Classical type of Muzak. Who hasn't at least heard snippets from "Swan Lake" or "Romeo and Juliet"? It's to Hazlewood's credit that he delves beneath the cliché to reveal the impetus and artistic creativity behind these (and other) endeavors, including Tchaikovsky's illicit affair with a young male student.

Hazlewood also makes great use of Russian locales and a student Russian orchestra, which performs under Hazlewood's hand (he conducts baton-less) with precision and feeling. Though there are some language barriers when Hazlewood attempts to elicit responses from these young Russians about how Tchaikovsky's music has impacted them personally, there are nonetheless some fascinating insights into how the composer is viewed in his own country by this new generation of musicians.

My only real criticism of this wonderful piece is just the slight whiff of narcissism at times from Hazlewood. The camera lovingly dotes on him when an expert is still giving a response, and Hazlewood's mannered conducting technique seems to me at times to be played for the camera's benefit. But the proof of the conducting pudding is in the performances themselves, all of which are top flight.

The DVD

Video:
A very nice enhanced 1.78:1 image has crisp detail and generally excellent, if a bit yellow, color. The dramatizations are nicely burnished with a darker palette that separates them nicely from Hazlewood's modern segments.

Sound:
An extremely robust stereo soundtrack is a joy to behold. If your usual "demonstration discs" are things involving car crashes and explosions, wait until you hear the magnificent brass of Tchaikovsky's Piano Concerto kick in. Brilliant separation and fidelity make this a joy to listen to.

Extras:
A totally fascinating bonus special culled from the long-running BBC Omnibus series explores the question "Who Killed Tchaikovsky?," examining the various theories surrounding the composer's mysterious death after the premiere of the Pathetique. The special includes a few clips from Russell's film starring Richard Chamberlain.

Final Thoughts:
I didn't know quite what to expect when I first got this disc to review--was it a biographical film? A documentary? A concert performance piece? The answer is, simply, yes, all of the above, handled with unusual aplomb and featuring some great work from both Ed Stoppard as Tchaikovsky in the dramatized elements and Charles Hazlewood as the all-knowing conductor in the analysis segments. Highly recommended.

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"G-d made stars galore" & "Hey, what kind of a crappy fortune is this?" ZMK, modern prophet