The majority of Rossini’s overtures are particularly
well known and have been recorded many times (see reviews of
Volume
1 in this series), but here we find they are spaced out with interesting
rarities. It is this fact that will make this disc most welcome and
of interest to the buyer. The conductor, Christian Benda, has gathered
a good reputation, having worked with the Torino Philharmonic, Polish
National Opera Orchestra, and Orchestre de la Suisse Romade. As a cellist,
he is understandably sensitive to the exacting role of the strings in
a Rossini score and that’s evident from this recording. Apart
from the
Guillaume Tell overture, the rest are taken from a tight
period of composition between 1808 and 1819, yet their styles are quite
varied.
This prolific composer churned music out like hot-cakes and although
there is a characteristically recognisable stamp that is ‘Rossini’,
there is considerable variety of melody and busy string playing that
is always enticing. Of the pieces, the best known is
Guillaume Tell
and here Benda’s performance matches up well with the quality
of benchmark recordings. In
L’inganno Felice, the boundless
energy is captivating, with bright and precise strings nicely balanced
by warm-toned horns. The more solid and ponderous
Demetrio e Polibio
was Rossini’s first attempt at dramatic opera and apparently was
originally scored for strings alone. Here the bassoon is prominent and
colours the mood of the piece. Despite its weight the overture provides
good contrast to the others and contains enjoyable melodic lines. The
CD also contains a short sinfonia,
Sinfonia di Bologna, where
the style acceptably fits the early overture genre … at least
if one adheres to 18
th century sonata-form.
The Prague orchestras carry a reputation for fine musicianship that
doesn’t go unnoticed here where the articulation is first class.
I like the quality of sound where a clear focus on sections of the orchestra
is noticeable and the balance is superb. The bite and crispness of the
strings gives an energetic feel to the playing. Despite the modest size
of the Kulturní dum Barikadniku hall, the recording is set in
a warm and flattering ambience.
Succinct notes in English by Keith Anderson gives useful background
information and brief resumés of the operas.
This disc is welcomed without hesitation.
Raymond J Walker
