This 1957 recording of Perséphone pre-dates that
which appears as part of the big Sony box set which all Stravinsky
fans should have to hand as a reference (see review).
The later version is a little more expansive, with timings for
the outer movements about 1 minute longer each, though the NYPO
sounds by no means hurried in comparison. As usual from Pristine
Audio, the notes for this release are candid about the source
for this CD transfer, which is an XR re-mastering by Andrew
Rose from a copy of the original CBS Masterworks LP, ML 5196.
This sounds very good indeed, though as the notes point out,
“one can only curse Columbia for their non-adoption of
stereo at this stage in the 1950s!” On its own terms this
mono aspect of the recording is in fact fairly negligible, such
is the quality of balance between soloists, chorus and orchestra.
The later NYPO recording does have greater clarity in stereo
and more definition in the treble, which may or may not be a
side effect of hiss reduction for this LP transfer. As a result,
the harp can sound a bit tubby and the winds and general sonic
picture a bit on the dull side, a little like being in an over-heated
room with too much carpet by comparison. One feels there is
a spectrum of upper harmonics which is missing a bit of ‘zing’,
but the commentary indicates analysis of the sound which is
comparable with that of Kent Nagano with the London Symphony
Orchestra (see review),
and a transfer which is “exceptionally faithful to the
original,” and in general the sound quality is fine taken
on its own terms.
All technical commentary aside, this is a very good, indeed
a classic performance of Perséphone, though the
actual results are in my view not quite the equal of Stravinsky’s
1966 version. Both recordings share an equally in-form Vera
Zorina as narrator, and the all important tenor role is given
superbly by Richard Robinson. His voice is a little warmer than
Michele Molese in the later recording, but both have the measure
of this demanding part. Robinson’s diction is a little
easier to follow, though he is closer in terms of balance than
Molese, who in turn is perhaps marginally more authoritative.
Where the 1957 recording is less convincing is in the choir,
the females of which can at times be rather over-wobbly, the
gents also rather lacking in cohesive unity. The Westminster
Choir is by no means bad and certainly have plenty of rhythmic
verve, but the Gregg Smith Singers et al just seem that much
more cleaner and on the ball in stylistic terms. The Columbia
SO is also better, evidenced in this NYP recording by note-seeking
strings here and there, and the somewhat meandering and stodgy
opening to the third and final movement. Neither band is entirely
perfect, but the New York Phil sounds very B-movie at this point,
where the Columbia SO creates genuine atmosphere and tension
- helped, it has to be said, by their more modern sound quality.
With an LP transfer lacking in surface noise or discernable
distortion this remains a fine achievement by the Pristine Audio
team. Perséphone is one of those pieces which
never seems to have taken off in quite the same way as some
of Stravinsky’s other works, though it is by no means
unapproachable, and in fact contains writing as expressive as
most of Stravinsky’s more elegiac pieces. Perhaps the
word ‘melodrama’ puts people off, and the hybrid
nature of the piece as part-ballet, which makes the work hard
to categorise. With this as the only current way to obtain this
genuinely worthwhile version of Perséphone; one
which appears otherwise long to have languished in obscurity,
this release gets a seal of approval from me, despite its being
trumped in absolute terms by the version in that big Sony box.
Dominy Clements
Vera Zorina (narrator), Richard Robinson (tenor) 
