Shostakovich: Symphony No. 13,
“Babi Yar.” Alexander Vinogradov, bass; Men’s Voices of the Royal Liverpool
Philharmonic Choir and the Huddersfield Choral Society, and Royal Liverpool
Philharmonic Orchestra, conducted by Vasily Petrenko. Naxos. $9.99.
Mahler: Das Lied von der Erde.
Christa Ludwig, contralto; Waldemar Kmentt, tenor; Wiener Symphoniker conducted
by Carlos Kleiber. Wiener Symphoniker. $18.99.
Prokofiev: Symphonies Nos. 1 and
2; Dreams—Symphonic Tableau. São
Paulo Symphony Orchestra conducted by Marin Alsop. Naxos. $9.99.
Prokofiev: Romeo and
Juliet—Suite. Chicago Symphony Orchestra conducted by Riccardo Muti. CSO
Resound. $14.99.
The remarkable Shostakovich
symphonic cycle led by Vasily Petrenko for Naxos comes to a superb close with
the release of the absolutely first-rate performance of Symphony No. 13, a
vocal work so tightly knit into symphonic form that it is nearly impossible to
say at which point one shades into the other. Petrenko has consistently gotten
a nearly Russian sound from the Royal Liverpool Philharmonic Orchestra in this
sequence, perhaps a touch lacking in deep lushness in the strings but otherwise
a formidable competitor for the sounds of Russian-based orchestras, with
piercing woodwinds, growling brass and an overall balance and feeling
reflecting both the solemnity and the comedic aspects of Shostakovich’s music. In
No. 13, known as “Babi Yar” for the poem by Yevgeny Yevtushenko that is the
basis of the first movement, Petrenko conducts a work that sounds like the sort
of symphony Mussorgsky would have written if he had worked in the form. The rumbling,
growling bass of Alexander Vinogradov and the full-throated men’s voices from
the Royal Liverpool Philharmonic Choir and the Huddersfield Choral Society
produce, in their back-and-forth antiphonies and their combined power, a paean
and challenge to the Russia of 1962, when this symphony was written and had its
première. Petrenko paces the
work magnificently, the expansiveness of the “Babi Yar” movement standing in
striking contrast to the following scherzo on humor, and the three final
movements, played attacca, building
relentlessly from the drudgery of everyday Soviet life to an affirmation of
individual power and accomplishment – a progression that still resonates deeply
but that was surely very uncomfortable for Soviet authorities even in the
comparative openness of Khrushchev’s rule. Petrenko does an excellent job of
keeping the vocal elements in the forefront most of the time, while allowing
the purely orchestral ones to weave in and out among the voices and enhance or
comment upon the words. By the time the symphony fades into silence, looking
forward as it does so to the conclusion of Shostakovich’s final symphony, No.
15, Petrenko has taken the full measure of this work and shown how much more it
is than its “Babi Yar” title indicates. This is a triumphant conclusion to a
Shostakovich cycle that has been absolutely top-notch throughout, giving the
lie to the notion that only Russian orchestras can perform Shostakovich with
all the understanding and gravitas he
requires. Petrenko here establishes himself as a pre-eminent conductor of this
composer’s works – a true master of their many moods.
Even a masterful conductor
can, however, sometimes fall shy of complete mastery of particular repertoire.
The fascinatingly flawed Wiener Symphoniker performance of Carlos Kleiber
conducting Mahler’s Das Lied von der
Erde, on the orchestra’s own label, is a case in point and something of a
cautionary tale. Kleiber (1930-2004) was a quirky, difficult and highly demanding
conductor, indifferent or hostile to being seen on camera or recorded. A
meticulous craftsman who depended on multiple rehearsals of even well-known
music in order to craft performances whose sweep and detail were remarkably
involving and revelatory, he was never a Mahler conductor, and in fact this
1967 live recording of Das Lied von der
Erde lets listeners hear the one and only time Kleiber ever conducted
Mahler’s music. The circumstances that brought this about, explained in the
CD’s accompanying booklet, created a situation that was far from ideal for
conductor or orchestra – or acoustically: the recording required considerable
restoration before it could be released. It is therefore somewhat surprising
that this CD is good enough to get a (+++) rating and is more than a historical
curiosity – although it has value even on that basis. Mahler’s Das Lied von der Erde is in some
significant ways a prototype for Shostakovich’s “Babi Yar,” with Mahler
intermingling the lied tradition with
that of the symphony and creating something tremendously powerful that combines
elements of both. As in the much later Shostakovich work, Das Lied von der Erde has a vocal focus with interspersed
instrumental material – the two more balanced in Mahler than in Shostakovich.
Mahler’s music is more personal than Shostakovich’s: written after the grand
Symphony No. 8, Das Lied von der Erde
offers an intensity of individualism within which to explore the grandest
themes of life and death. Kleiber was blessed with two outstanding soloists in
Christa Ludwig and Waldemar Kmentt: their expressiveness, especially Ludwig’s,
helps overcome Kleiber’s rather cool and distanced approach to the music. Kmentt
delivers his drinking songs with a strong voice and considerable fervor, but it
is the delicacy of Ludwig’s singing and her heartfelt handling of Der Abschied that are the high points of
the performance. Kleiber asks less of the Wiener Symphoniker than the ensemble
was capable of providing – being limited to four rehearsals certainly being one
reason. The orchestra sounds too often as if it is going through the motions of
playing a work it knows well: a sense of discovery, of seeking and extracting
the full emotional impact of Das Lied von
der Erde, is missing. This is a fine recording in many ways, but it is the
performance of a mid-level conductor and orchestra, and that is not an apt
description of either Kleiber or the Wiener Symphoniker. The presentation also
has some oddities: the titles of the fourth and fifth movements are reversed on
the back cover (although not in the booklet), and there are no texts provided.
These matters make the release seem almost like a throwaway, and it deserves
better – even if it is scarcely an ideal showcase for the excellence of this conductor
and this orchestra.
Marin Alsop’s Prokofiev
cycle with the São Paulo
Symphony Orchestra, on the other hand, is shaping up as a strong one for both
the ensemble and the conductor. The third Naxos release in this series, after
ones including Symphony No. 5 and the second, longer version of No. 4, gets a
(++++) rating for showing Alsop’s considerable strength in the more-modernistic
elements of Prokofiev’s music and for giving the orchestra a chance to show off
its fine sectional balance. Symphony No. 1, the “Classical,” is bright, even
ebullient here, with Alsop and the ensemble seeming to have genuine fun with
most of the work – although, frustratingly, Alsop shows one of her weaknesses
as a conductor when she tinkers with the brief third movement, the “Gavotta,” by
turning it into an interlude of stops and starts rather than a piece flowing as
smoothly as the rest of the symphony. Symphony No. 2, Prokofiev’s entry into
the spirit of deliberate modernism, 1920s-Paris-style, is here as craggy and intense
as can be, filled with a great deal of clatter and outright noise but retaining
classical underpinnings structurally traceable to, of all things, Beethoven’s
final piano sonata. Alsop likes the clangor here and never attempts to bring
out what softness the music has – not that there is a great deal of it. This is
unsubtle music, and Alsop seems quite comfortable with it, pulling great gouts
of sound from the orchestra and eschewing any attempt at warmth. It is a very
effective performance, although one that never attempts to look much beyond the
raucous elements of the work. The short, early Dreams, written when Prokofiev was 19, is somewhat less effective
here: this is a work of color and lyricism, considerably influenced by
Scriabin, and while the orchestra plays it well, the work itself drifts and
does not seem to have captured Alsop’s imagination. Still, it makes a nice
contrast to the two symphonies: Alsop’s cycle is shaping up impressively.
The symphonic elements of
Prokofiev’s Romeo and Juliet are
clear throughout the ballet and the suite drawn from it, and Riccardo Muti
emphasizes them in his performance with the Chicago Symphony Orchestra on the
ensemble’s own CSO Resound label. Muti is generally more comfortable with the
Romantic and neo-Romantic repertoire than Alsop is, but less adept with the
more-modern-sounding elements of a score like this one. The result is a
performance of mixed intensity and only occasional affability, its warmer
elements brought out effectively but its more-dramatic ones, such as “Death of
Tybalt,” somewhat lacking in force. Even in the more lyrical sections, the
rhythms and forward thrust tend to be a bit flabby at times, as Muti dwells on
some emotive sections while holding the overall progress of the music back.
Individually, all these matters are mere details, and this recording gets a
(+++) rating for its many fine elements and the first-rate orchestral playing.
But this is not a wholly convincing performance, and unfortunately, the
49-minute Romeo and Juliet Suite is
the only music on the disc – a highly unusual decision when working in a medium
that can readily accommodate 80 minutes. This means that the suite is the only
reason for purchasing the CD – and although there are certainly many pleasures
in the recording, that will not be reason enough for listeners other than ones
highly devoted to the Chicago Symphony and/or to Muti’s podium manner.
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