Prokofiev Romeo & Juliet
This anniversary release does not threaten the leading contenders in a strong field
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Prokofiev
Genre:
Opera
Label: Decca
Magazine Review Date: 8/2003
Media Format: CD or Download
Media Runtime: 145
Mastering:
Stereo
DDD
Catalogue Number: 436 078-2DH2

Tracks:
Composition | Artist Credit |
---|---|
Romeo and Juliet |
Sergey Prokofiev, Composer
Royal Philharmonic Orchestra Sergey Prokofiev, Composer Vladimir Ashkenazy, Conductor |
Author: David Gutman
This recording was made in conjunction with the centennial Prokofiev celebrations of 1991 and its belated release now, timed to coincide with the 50th anniversary of the composer’s death, tells its own story. Vladimir Ashkenazy’s commitment to the cause – he is currently touring the world with some audacious programmes of rare Prokofiev – is scarcely in doubt. And for anyone looking for a straightforward, digitally recorded interpretation of Romeo and Juliet, this might have been expected to fit the bill. Unfortunately, the RPO sounds distinctly fragile in his well-meaning hands, especially when compared with the vintage analogue rivals listed above. In 1973, that supreme technician Lorin Maazel had the automatic radiance of a great string section to fall back on in Cleveland, whereas the newer Decca set has to operate without such a safety net. Though realistic and apparently well balanced in the familiar venue of Walthamstow Town Hall, the sound does nothing to flatter violin tone.
Ashkenazy’s natural feeling for the idiom shines through in passages of quiet intimacy where simplicity is at a premium and weight of sonority matters less; I particularly liked the tender ‘Madrigal’ (CD 1, track 16). On the other hand, the ceremonial ‘Interlude’ (CD 1, track 8) is pretty grim, with horns and brass ill-matched; even the ballet’s ‘Introduction’ feels a mite tentative. In a notably competitive field, André Previn plumbs deepest, tugging at the emotions with freer rubato, while Maazel offers crisp, tensile brilliance.
I suppose there was always the danger that Ashkenazy might fall between stools and, though his many admirers will be able to get these two discs for the price of one, anyone wanting to hear the RPO on top form in at least some of this music would do better to seek out Daniele Gatti’s highlights disc (Conifer, 3/99). The booklet notes, usually a strong point with material from this source, are by the late-lamented Christopher Palmer and similarly long in the tooth. Alas, they aren’t likely to make Ashkenazy’s Romeo and Juliet a plausible first choice.
Ashkenazy’s natural feeling for the idiom shines through in passages of quiet intimacy where simplicity is at a premium and weight of sonority matters less; I particularly liked the tender ‘Madrigal’ (CD 1, track 16). On the other hand, the ceremonial ‘Interlude’ (CD 1, track 8) is pretty grim, with horns and brass ill-matched; even the ballet’s ‘Introduction’ feels a mite tentative. In a notably competitive field, André Previn plumbs deepest, tugging at the emotions with freer rubato, while Maazel offers crisp, tensile brilliance.
I suppose there was always the danger that Ashkenazy might fall between stools and, though his many admirers will be able to get these two discs for the price of one, anyone wanting to hear the RPO on top form in at least some of this music would do better to seek out Daniele Gatti’s highlights disc (Conifer, 3/99). The booklet notes, usually a strong point with material from this source, are by the late-lamented Christopher Palmer and similarly long in the tooth. Alas, they aren’t likely to make Ashkenazy’s Romeo and Juliet a plausible first choice.
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