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Site review by Polly Nomial September 16, 2006
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Performance: Sonics (MC): |
This is one of the many MLP's in which Dorati conducted the LSO. Sadly, this doesn't live up to the standard of the amazing and electrifying Stravinsky: The Firebird (complete ballet), etc - Dorati from a performing or sonic perspective.
Starting with a lively, if not ideally fleet-of-foot, Capriccio Espagnol the LSO are inspired into brilliant playing which is reflected in the recording - this has clearly seen better days and there are frequent moments of harshness and some brittleness to the sound (not from the players). The suite from Le Coq d'Or has aged better from an audio perspective but too often the conducting is a bit earth-bound; I have heard more imaginative versions of this piece and there are moments of sour tuning from the brass & wind.
Moving to the Russian Easter (or Festival depending on translator) Overture, Dorati has clearly been fired up by this music and delivers the most immediately exciting performance on the disc; throughout it is well paced which leaves space for the LSO to provide a thrilling coda. We then move to arguably the most famous piece that Borodin wrote: the Polovotsian Dances (with the LSO Chorus joining). Again, this is performed with great vigour and alternate freshness when callsed for - they all sound as though they are having fun - although the choral contributions are not always ideal.
One can hope that Pentatone might persuade the RNO to record a Rimsky-Korsakov disc under Vladimir Jurowski or Channel Classics with the BFO/Fischer as they would surely trump this disc (especially from a sonic perspective) what is offered here.
Althought the detail is admirable, as alluded to earlier, the recording has very definitely seen better days and at times is so brittle that one experiences the "digititus" more often associated with RBCD.
Sadly not recommended.
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Copyright © 2006 John Broggio and SA-CD.net
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Review by Ivymike January 11, 2006 (3 of 3 found this review helpful)
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Performance: Sonics (MC): |
A fine disc, although not all the music is likely to appeal to everyone. The Capriccio Espagnol is a solid performance, and it is pleasing to hear the suite from "Le Coq d'Or" although it goes on a bit long for my taste. The Polovtsian Dances are a major success on this disc, sonically and musically, as is the Russian Easter Overture.
The Rimsky-Korsakov works were recorded separately: The Suite in July,1956; the Overture and Capriccio in June, 1959. The earlier recording is the more successful in terms of sound quality, with a more natural presence than the somewhat drier, more "trebly" sound of the Capriccio with its lighter balance. The Capriccio is given a solid, rousing performance under Dorati's rather fiery baton, and the other two works are more than acceptable.
The Borodin Dances are presented in rip-roaring form; Dorati and the London Symphony really seem to have a great time with them. The sound is very good indeed, with the acoustic of Walthamstow Town Hall, London coming through well. Image width and depth are solid. The impact of the bass drum is very solid although at the cost of some audible tape saturation; listeners may be unprepared for such bass from such a vintage recording so watch out!
As is usual with half-inch, three track Mercurys there is some tendency toward brightness thanks to the undamped treble of the Telefunken microphones used in the sessions. Tape hiss is moderate in level and will be audible during quieter moments; this may be distracting for listeners accustomed to digital silence. The noise of performers moving in their seats, turning pages, and fiddling with instruments is well captured by the close miking, so there will be some extra noise present. All in all, though, this is high fidelity at its near-best.
You aren't likely to go wrong with this disc.
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