Impressioni brasiliane (Brazilian Impressions) (1927-1928) [21:22]
La Boutique fantasque (1918) [46:46]
Orchestre Philharmonique Royal de Liège/John Neschling
rec. April 2013, Salle philharmonique, Liège, Belgium
Reviewed as a 24-bit/96kHz download
BIS BIS-SACD-2050 [68:55]
It’s good to welcome new recordings of Respighi works other
than the perennially pleasing but ubiquitous Roman trilogy. That’s
especially true of the Rossini-inspired Diaghilev ballet La
Boutique fantasque (The Magic Toy Shop). Indeed,
although the latter follows Impressioni brasiliane in
this programme it’s clearly the main attraction. Most intriguing
is the collaboration between Brazilian conductor John Neschling,
who made his first Respighi recording for BIS in 2008 (review),
and this rarely heard Belgian band. As always BIS make a virtue
of unexpected partnerships, so I fully expect something rather
special here.
That said, I don’t always warm to Neschling’s music-making,
although I do admire his pioneering work with the São Paulo
orchestra. His Hindemith doesn’t really challenge the best
in the catalogue (review),
but his disc of Bernstein, Barber and Bloch with Vadim Gluzman
is much more satisfying (review).
I also recommend his Tchaikovsky and Medtner concertos with Yevgeny
Sudbin, which Chris Howell welcomed on its appearance in 2007
(review).
As for the Liège orchestra I’ve only heard them once,
and on that occasion they made a favourable impression (review).
Brazil seems to have done the same for Respighi, who visited the
country in 1927 and 1928. The three-movement Impressioni brasiliane
– part of a promised suite that was never completed –
begins with a tropical night that’s alive with exotic sounds,
all of which are superbly rendered in this new recording. Until
now I’ve thought JoAnn Falletta and her Buffalonians excellent
(review),
but Neschling’s glowing colours and instinctive rhythms
are simply breath-taking. That entwining, liana-like oboe tune
is magical, too. By contrast Geoffrey Simon (Chandos) seems a
little rough and approximate, mere daubs that don’t do justice
to Respighi’s painterly prowess.
In the past I’ve grumbled about BIS’s frustrating
balances, which make the music seem a tad opaque at low volume.
This time it’s all so delicately aspirated and the ultra-refined
sound is a joy to behold. Couple that with sensitive, finely honed
playing and you have your very own piece of paradise. As for the
snakes Respighi saw at the famous reptile farm in the Butantã
district of São Paulo they are more unsettling in the Simon
recording; not only that, the Dies irae is spookier too.
Neschling shapes and shades the music most beautifully –
superior woodwind and immaculate pizzicati to the fore
– and imbues it with a rare subtlety and narrative strength.
Ditto the Song and Dance, which pulses to the gentlest
beat.
I’ve seldom heard Respighi essayed with such finesse and
feeling; indeed, I had to play the piece several times in quick
succession, such is the magic it engenders. This could be a very
promising partnership – if it turns into one – a belief
that only grows with Neschling’s lively, incident-packed
La Boutique fantasque. Based on Rossini’s piano
pieces Péchés de vieillesse – I reviewed
some if them here
– the ballet revolves around two cancan dolls who come alive
and fall in love. It's all so effervescent - Arthur Fiedler's
two RCA recordings certainly have enough fizz to pop anyone's
cork - but there's more to this music than just bubbles.
The overture moves with the insouciance of a seasoned boulevardier
out to make a good impression. Respighi’s homage to his
irrepressible forebear can be heard in the twirl and turn of every
tune; meanwhile Neschling strikes just the right balance between
mobility and weight, and his players respond with panache aplenty.
The shade of Offenbach is never far away, especially in the more
rumbustious moments, and it’s difficult to suppress a smile
at the teasing geniality of it all. True, it’s not one of
the greatest of the Diaghilev ballets but it’s one of the
most delightful; just sample the Tarantella, which is
dispatched with an ideal blend of good humour and good
taste.
The big-boned Mazurka mixes vigour with a certain charm,
but thankfully climaxes are always well proportioned and playfully
done. Rhythms are sharply pointed and the percussive plosions
of the Cossack Dance are a knock-out. Neschling also
brings a metropolitan lift and lilt to the proceedings, not least
in the Cancan. Everyone is having fun, and I daresay
most listeners will experience that same leap of pleasure on hearing
this lovely, levitating performance. The ensuing Valse lente
isn’t the lightest of confections, but it’s leavened
by some gorgeous, gurgling woodwind.
The felicities of this score extend to the atmospheric, harp-led
Nocturne; this really is music that brings to mind Keats’s
‘blushful Hippocrene’, for it plashes and plays with
a profound serenity that’s most affecting. Needless to say
Neschling and his northerly band infuse the writing with plenty
of southern warmth. The concluding Galop is a perfect
fusion of these two worlds, at once cultivated and carefree. It’s
a judicious bit of juggling on Neschling’s part, and I’m
delighted to say he never drops a ball. Which is why I’d
urge you to bin your other recordings of La Boutique fantasque;
really, this is the only one you’ll ever need.
Elegant and engaging; Respighi performances don’t come much
better than this.
Dan Morgan
http://twitter.com/mahlerei
Full Tracklist
Impressioni brasiliane (Brazilian Impressions) (1927-1928)
[21:22]
Notte Tropicale [11:35]
Butantan [5:05]
Canzone e Danza [4:31]
La Boutique fantasque (1918) [46:46]
Overture [6:39]
Tarantella [2:56]
Mazurka [6:36]
Cossack Dance [4:57]
Cancan [7:29]
Valse lente [8:36]
Nocturne [4:34]
Galop [4:57]
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