The inherent contrast
between the works presented here appeals to me: The Rite
of Spring, cause of the most notorious musical riots in
history and The Nightingale taking as its subject the
seductive power of music. Original programming at least, even
if the contrast was unintentional on Naxos’s part.
I can take or
leave The Rite of Spring to be honest – it’s one of
those works that I know is a turning-point in music, but it
just does not move me. Stravinsky might have been “the vessel
through which The Rite passed”, but I don’t particularly
revere him because of it. There are other works that stimulate
those feelings to a far greater extent: Symphony of Psalms,
for instance. But stuck with The Rite we are.
Naxos has done
fine service in reissuing important recordings by Robert Craft
of late. Many, like myself, may well have invested in the
Petrushka and Firebird pairing, so might be
tempted by this Rite to complete the trio of great
Stravinskian ballets on a shoestring budget.
Craft’s conducting
is obviously experienced and direct, his flow more angular
than jazzy and he lays bare the structure of the work reasonably
well. In this last point he is no doubt aided by the clear
and suitably close and analytical recording, originally made
for Koch International. Throughout, the LSO bring weight and
full-blooded vigour to a performance that doesn’t pull many
punches. Particularly impressive are the brass and percussion
in Ritual of the Rival Tribes (track 5) in building
dense and dark sonorities. A resounding climax is reached
in the Sacrificial Dance (track 12), which for some
may seem a trifle well mannered. For all the noise I missed
slightly the element of reckless abandon that should come
into things.
As a complete
contrast comes the wholly lyrical Nightingale, which
is not to deny that it contains episodes founded on rhythmic
interplay and emotional outburst. Through the orchestration’s
rich colouring, which Craft patiently brings out, it should
be recognised that this is an opera where the accompaniment
carries almost equal weight to the voices. More than before
I noticed the extent to which Stravinsky treats the two in
parallel – scaling and texturing according to the nature of
the drama.
Craft’s direction
is dramatic too where it is needed, incisive and reflects
obvious affection for the score – responding, I would think,
as much to the subject as the music itself. The recorded acoustic
is natural, and nicely reverberant around the basses and percussion
whilst allowing the brass to have their due presence. Woodwinds
too, oboes particularly, are atmospherically caught.
The cast is without
a weak link: Trifonova takes the title role with an admirable
mix of precision and feeling. Robert Tear uses his nasal tenor
to good effect as the fisherman, and Paul Whelan’s Emperor
exudes a real otherworldly presence (scene 3, backed by the
chorus of the ghosts) which contrasts well with his more commanding
tone earlier on. Sally Burgess has a strong grip as Death,
and all others are well executed. The London Voices may be
counted as luxuriously responsive casting for the chorus parts.
When it’s realised
to this artistic level The Nightingale shows itself
to be without doubt one of the few twentieth century one-acters
deserving of a place in the repertoire. Many works could be
overshadowed by The Rite of Spring but not this opera.
Backed as this performance is by Craft’s notes, singer biographies
and the complete text in Russian and English this release
is a strong contender for any collection. Whichever work you
buy it for this is another Naxos bargain – and long may they
continue coming.
Evan Dickerson
The Nightingale: Olga
Trifonova (soprano)
