Sergei PROKOFIEV (1891-1953)
Ivan the Terrible, Oratorio for alto, bass, boys choir, chorus and orchestra based on the original film score (1942/44) edited and arranged by Abram Stasevich (1962) [68:43]
Olga Borodina (mezzo); Ildar Abdrazakov (bass)
Rundfunkchor Berlin; Staats- und Domchor Berlin
Deutsches Symphonie-Orchester Berlin/Tugan Sokhiev
rec. live, 10-13 January 2013, Philharmonie, Berlin
Russian text with English translation provided
SONY CLASSICAL 88843 028942 [68:43]
I have learnt to pay attention to all the recordings by the Deutsches
Symphonie-Orchester Berlin especially under the stylish music directorship
of Tugan Sokhiev. Captured live on this CD the collaboration boasts outstanding
playing that will both surprise and entertain.
Soviet Russian film director Sergei Eisenstein filmed Ivan the Terrible
(Ivan Grozny) as part of an originally intended trilogy. However,
only the first two parts were completed. Part one depicting Tsar Ivan
IV of Russia (Ivan the Terrible) as a national hero was released in 1946
and won a Stalin Prize (first class). Owing to State censorship part two,
completed in 1946, was banned from release. Filming of the third part
was commenced later that year but halted by the authorities and the footage
confiscated.
Prokofiev who had returned to Russia in 1936 from exile in the USA and
Paris was engaged by Eisenstein to compose the score and carried out the
work in 1942/44. Prokofiev had already collaborated with Eisenstein for
Alexander Nevsky and later arranged that music into a cantata
with a text by poet Vladimir Lugovskoy. Prokofiev died in 1956 and Abram
Stasevich who had conducted a recording of Ivan the Terrible
in 1961/62 arranged the score into an oratorio in the manner that Prokofiev
had done with Alexander Nevsky. Stasevich’s adaptation
follows the chronology of the film but makes some changes to place emphasis
on the music rather than the scenario. A spoken text that Stasevich employed
as a guide to the proceedings is not used here.
Prokofiev left no specific instructions as to how the work should be performed
in the concert hall. There are now several recordings of Ivan the
Terrible using various versions. In 1997 Vladimir Fedoseyev recorded
the complete film music with the Tchaikovsky Symphony Orchestra on Nimbus.
The Fedoseyev release was described as “the world premiere recording
of the complete music to Eisenstein’s film incorporating music from
the Russian Orthodox liturgy.”
The best known recordings of the score are from Valery Gergiev with the
Kirov Opera Chorus and the Rotterdam Philharmonic Orchestra on Philips
and Riccardo Muti with the Ambrosian Chorus and the Philharmonia on EMI/Warner.
Some conductors such as Vladimir Jurowski with the LPO are now choosing
to perform an eight movement arrangement of Ivan the Terrible
discovered in 2007 that was prepared by Prokofiev’s friend and composer
Levon Atovmyan - who also worked with Shostakovich. In his arrangement
Atovmyan at times deviates from the events of Prokofiev’s score
including altering some instrumentation and choral parts.
On Sokhiev's new Sony Classics disc the recording is indexed in
twenty tracks each with a title. I especially enjoyed the rousing and
urgent Overture with its lusty-sounding chorus which marvellously
sets the scene. The jaunty track 2 March of Young Ivan depicts
the hero with a comical gait and track 6 Many Years! features
the strong and expressive voice of mezzo-soprano Olga Borodina who is
splendidly supported by the chorus. The dramatic and powerful The
Holy Fool (tr.7) has plenty of forward momentum although a couple
of times the effect sounds untidy; maybe these are edits. This is especially
noticeable at 0:19. In On the Bones of the Enemy (tr.9) the dark,
bold brass convey a threatening scene contrasting with the martial percussion
of The Tartars (tr.10). At ten and a half minutes track 12 To
Kozan! is the lengthiest section. Perhaps a shade overlong for its
material its music is tender and attractive music. At 6:47 the music becomes
brisker and more vibrant. Track 13 Ivan Implores the Boyars has
a heavy, laboured tread that gradually becomes louder and more dramatic
before concluding with a wordless chorus. A chilling atmosphere of foreboding
hangs over track 14 Efrosinia and Anastasia and I relished Olga
Borodina’s lovely in track 15 Song of the Beaver. One of
the finest sections is the dramatic Song Of The Oprichniki (tr.17)
with low, dark strings communicating a potent sense of trepidation complete
with angry timpani impacts. The menacing mood of the men’s chorus
is moderated by the arrival of the women singers. Resolute bass soloist
Ildar Abdrazakov in track 18 Song of Fyodor Bassmanov provides
some rich and hearty singing. He is accompanied by the men’s chorus
together with some prominent percussion. The heavily dramatic Finale
with the orchestra and mixed choir produces a sequence of majestic awe.
From first note to last there is a strong awareness that Sokhiev and his
well prepared orchestral and choral musicians are collaborating towards
a common musical purpose.
Recorded at live concerts I was delighted by the overall sound quality
and there is no unwanted audience noise or applause. Magnificently conducted,
played and sung, this live performance makes a stunning impression.
Michael Cookson
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