Prokofiev’s dramatic and colourful ballet of
Romeo and Juliet
spawned a number of equally successful spin-offs. We have the composer’s
own orchestral suites - Opp. 64bis, 64ter and 101 - and his piano
transcriptions, Ten Pieces from
Romeo and Juliet, Op. 75. Vladimir
Ashkenazy’s astonishing rendition of the latter - recently reissued
by Eloquence - was one of my Recordings of the Year for 2012 (
review).
As for the ballet itself I doubt the Covent Garden production with
Carlos Acosta and Tamara Rojo as the ‘star-cross’d lovers’,
will be equalled, let alone surpassed, any time soon (
review).
Until now these composer-approved viola and piano arrangements by
Russian violist and teacher Vadim Borisovsky (1900-1972) have eluded
me; in fact, this CD has been languishing in my in-tray for a while,
so I decided it was time to unwrap it and listen. My colleague Oleg
Ledeniov speaks glowingly of this disc (
review)
and it wasn’t long before I discovered why. Quite apart from
the quality of the writing and playing - Britons Michael Hampton and
Matthew Jones are first-rate artists - the sonics of this release
are superb; perspectives are natural, timbres are truthful and the
recording offers an ideal blend of warmth and clarity.
After a lovely, surging
Introduction - Hampton’s deeply
expressive, yet perfectly scaled piano playing is a delight - violist
Matthew Jones brings poetry and pin-sharp articulation to the nimble
music of
The Street Awakens. One of the abiding pleasures of
Ashkenazy’s disc is his intuitive response to Prokofiev’s
delectable rhythms and subtle colours, especially in the minuet from
The Entry of the Guests. Hampton and Jones are just as sensitive
to these telling nuances. Their
Dance of the Knights has all
the weight and thrust one could wish. In amongst this dignified display
the gentle viola tunes emerge with melting beauty.
Goodness, this is playing of rare distinction, the soloists responding
to each other in a most engaging and spontaneous way.
Mercutio
struts to music of tremendous virility - well caught here - yet it’s
all so economically done, whether in the ballet, the suites, the transcriptions
or these fine arrangements. That’s also true of the
Balcony
Scene, whose judicious mix of lyricism and ardour is so intensely
moving. Indeed, somewhat misty-eyed I reached for the Repeat button,
marvelling anew at the magic of both the music and the music-making.
Carnival is dispatched with point and sparkle, and violist
Rivka Golani makes a solid contribution to
Dance with Mandolins.
In that Covent Garden production of
Romeo and Juliet
Friar Laurence is played with a benevolent, unworldly air that Prokofiev
encapsulates in the artless music associated with him. Needless to
say Hampton and Jones are every bit as affecting in
Romeo at Friar
Laurence’s Home; indeed, they find a memorable sense of
communion here. of aching tenderness even. Rarely have I been so spellbound
by two instrumentalists working in such close and productive harmony.
It’s not all moody and introspective though; the deaths of Mercutio
and Tybalt are marked by music - and playing - of trenchancy and power.
After that the effervescent
Morning Serenade is as palate cleansing
as a zingy sorbet. Really, there isn’t a dull moment on this
disc, each
vignette brimming with character and incident. As
ever these musicians are attuned to the changing emotional temperature
of this score and they respond to its fluctuations with eloquence
and passion. Nowhere is this more evident than in the goosebump-inducing
Epilogue that brings this performance to a most satisfying
close.
It’s a measure of just how far this bargain label has come in
the past quarter century that it’s consistently producing discs
of such quality - albeit at a slightly higher price - and that goes
for their liner-notes as well. Occasionally I quibble about the sonics,
but otherwise there’s much to enjoy - and discover - in their
burgeoning catalogue.
Subtle arrangements, masterful musicianship and a top-flight recording;
a must for all Prokofiev fans.
Dan Morgan
http://twitter.com/mahlerei
Track-listing
Arranged by Vadim Borisovsky, except *David Grunes and **Matthew Jones/Michael
Hampton
Introduction [2:16]
The Street Awakens [1:37]
Juliet as a Young Girl [3:23]
Minuet - Arrival of the Guests [3:15]
Masks* [2:21]
Dance of the Knights [5:55]
Mercutio [2:30]
Balcony Scene [5:06]
Carnival [3:46]
Dance with Mandolins# [2:12]
Romeo at Friar Laurence’s Home [7:17]
Death of Mercutio [2:58]
Death of Tybalt** [3:30]
Morning Serenade# [2:23]
Dance of the Lily Maidens* [2:27]
Epilogue: Parting Scene and Death of Juliet [6:44]
