Search - Sergey Prokofiev, Valery Gergiev, Leningrad Kirov Orchestra :: Romeo & Juliet

From the review in Gramophone

Record Collector | Mons, Belgium | 02/18/2006

(5 out of 5 stars)

"This Russian recording was made in the Kirov Theatre in Leningrad and has the fullness and amplitude characteristic of the finest western recordings, not surprising, as the recording team was from Philips. The orchestral playing, too, is superb by any international standard and has none of the sharp edges or raucousness we used to associate with Soviet fortissimos. Indeed, if there were a criticism of the playing it would be to suggest it is at times almost over-cultivated. The Introduction has a striking grace and flexibility, a sophistication of light and shade that some listeners might not expect. The action of the opening street scene and the sequence of events which follows is delineated with much delicacy of effect, crisp clear rhythms, great energy when called for, in the 'Morning dance', for instance (track 4) and the most stylish instrumental response from all departments of the orchestra. The 'Interlude' (track 7), after the exuberance of the first fight sequence establishes the power and richness of the brass sonority, and later the clever brass effects in the 'Dance with Mandolins' (track 23) are captivating. 'The Young Juliet' (track 9) is depicted with great charm and gentle scherzando delicacy. 'The Arrival of Mercutio' (track 14) brings a more plangent touch of colouring but the elegance and lyrical beauty returns in the 'Madrigal' (track 15). o, and at the climax one is not quite carried away.



The temperature picks up in Act 2 and there is great bustle at the 'Public Merrymaking' (disc 2, track 3), while obviously the 'Dual Scene' and 'Death of Mercutio' (tracks 6-7) brings red-blooded drama. The opening of Act 3 is very powerful; the portrait of 'Juliet Alone' (track 13) again produces a magically ethereal atmosphere and the short series of dances before the narrative climax including the 'Aubade' and the 'Dance of the Girls with Lilies' offers some of the most delightfully felicitous playing in the whole set.



The great climax of 'Juliet's Funeral' (track 20) generates richly intense string playing and resoundingly powerful brass. This is a performance to enjoy for the lyric feeling of Prokofiev's score and for the marvellous orchestral playing.

"