9.1分（18人评分）

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共26首歌曲

在网易云音乐打开

艺人

Gennady Rozhdestvensky

语种

其他

厂牌

BBC Legends

发行时间

2007年02月26日

专辑类别

现场专辑

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专辑介绍

In the early 1970s, Gennadi Rozhdestvensky was one of my favorite conductors. His Melodiya recordings were invariably bold and bracing with crisp attacks, snappy rhythms, and brisk tempos. Moreover, he seemed intent upon recording every note of Prokofiev’s orchestral music, which was certainly okay by me. These days I prefer a softer, more lyrical approach to Prokofiev’s music, though I still return to those old discs from time to time and marvel at the freshness and vitality of the conductor’s approach.

These concerts, however, date from the 1980s and find the conductor in a far more reflective mood than usual. Perhaps being away from Soviet Russia and leading an orchestra that was considerably more polished than the USSR Symphony provided Rozhdestvensky with a rare and welcome opportunity to relax. Indeed, had the conductor’s name been inadvertently left off the jewel box, I would never have guessed who was on the podium based on the gentle, unhurried performances heard here.

The Nutcracker in particular could use some of the urgency and fire that permeated Rozhdestvensky’s old Prokofiev recordings. His tempos are relentlessly moderate, and he does little to bring out the individual character of each number. Thus the “Chinese Dance” is much too stodgy, the “Trepak” is joyless, and the “Waltz of the Flowers” is terribly clunky—to cite just three of the most egregious examples. Despite the lack of inspiration from their conductor, the BBC Symphony plays divinely throughout. But Charles Mackerras has an even better orchestra (the London Symphony), and he leads a far more and exciting performance of the complete ballet on Telarc. If the familiar Suite is all you need, you can’t go wrong with Bernstein’s exuberant Sony recording.

Shostakovich’s ballet The Bolt was new to me. The overture is a delightful, cinematic romp that finds the composer at his most accessible and immediately comprehensible. I’m surprised that it doesn’t turn up on concert programs from time to time. It would make an excellent curtain raiser. However, the heavy-handed irony and satire of the remaining three movements was completely lost on me. It sounds like inferior circus band music gone horribly wrong. For the record, the audience ate it all up, laughing at all of the wrong notes and applauding thunderously at the end. I guess you just had to be there.

The Stravinsky, on the other hand, is stunning. I’ve always regarded the Scenes de ballet as a bland, generic essay that the composer dashed off quickly in order to take some easy money from a Broadway producer (the hapless Billy Rose). Perhaps that’s because my only previous experience is with the recording by the composer and the CBC Symphony on Sony. Rozhdestvensky spotlights the score’s vivid primary colors in the manner of Stokowski. His performance is also more incisive than Stravinsky’s ill-prepared and often poorly tuned rendition. Rozhdestvensky even manages to find some references to Tchaikovsky’s music that the composer completely overlooked.

The sound from both concerts is excellent: clear, warm, and richly detailed. Only rarely before hearing the applause at the end of each performance does one become aware of the presence of an audience in the hall.

FANFARE: Tom Godell

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最新简评（共8条）

• @大喵(不要自我设限.....)：
• @ayumi_vivi：谁有第一幕啊
• @独风冷雨(阳光淌过手心天空笑了笑！)：喜欢~_~
• @晃眼(随心飞扬)：就是喜欢嘛
• @不屈的生命(生活需要挑战！)：听起来真舒服
• @『南華』天泷司：这砖是完整胡桃夹子吗
• @赚钱才加码不动乃真功：好
• @路小熊包子(降落在612星球，谁等我...)：感谢分享！^^