Sergei PROKOFIEV (1891-1953)
Alexander Nevsky, Op. 78 (1939) [41:23]
Lieutenant Kijé Suite, Op. 60 (1934) [18:26]
Alisa Kolosova (mezzo-soprano)
Utah Symphony Chorus; University of Utah A Capella Choir; University of Utah Chamber Choir
Utah Symphony/Thierry Fischer
rec. live, 18 & 19 November 2016, Maurice Abravanel Hall, Salt Lake City, USA
REFERENCE RECORDINGS FR-735 SACD [60:06]
This digital hybrid CD/SACD arrived for review just as I was completing a survey of stereo recordings Alexander Nevsky and is thus included in that conspectus; unfortunately, I do not think it is a contender. On first listening, I wondered if my lukewarm response was simply the result of Nevsky-overload, but subsequent encounters have not modified my lack of enthusiasm, especially in the context of there being so many other really recommendable versions in the catalogue.
There is no doubting the initial excellence of the sound, even on conventional stereo equipment, and the orchestral playing is impressive, too. However, I soon became less keen on the reverential manner of the massed choirs; there is a lack of bite and attack in both their pronunciation and their attack on musical phrases and it is all rather low-key. The Teutons seem to be sleep-walking; just going through the motions is not going to give us the shivers and little of the requisite spirt of wildness obtrudes. I doubt whether the staccato delivery of the last “peregrinus” in “The Crusade in Pskov” (track 3) is authorised by the score, as no-one else does it; in any case, it doesn’t work and just sounds affected. Then, equally peculiarly, the supposedly rousing next track, “Arise, People of Russia” simply sounds perky while the introduction to The Battle on the Ice is largely devoid of atmosphere and the chorus‘ outbursts suddenly sound oddly muffled and dominated by the orchestra placed too far forward in the aural landscape in comparison the singers. I am no conductor, but to my ears the beginning of the cavalry charge at 1:57 is almost risibly prosaic and I submit that a sudden accelerando of the kind applied around 4:10 will not guarantee excitement but instead sounds clumsily and artificially applied. I imagine that Thierry Fischer is attempting to introduce via these stratagems the individual touches which distinguish a new recording from its predecessors but I am sorry to say that, coming to this one having heard so many successful interpretations, I am not convinced. A mezzo soloist with a nice, full, but unvaried tone, a minimum of emotional involvement in her delivery of the text and a vibrato approaching a beat does not help to enhance my appreciation of this recording.
There is certainly more animation in the final, triumphant hymn but confused, muddy sound still compromises the listener’s pleasure. Ultimately, I must convict this Alexander Nevsky of mere blandness.
The Lieutenant Kijé Suite has always been its natural concert and recording companion but is of course very different – indeed, antithetical - in mood, being light, sardonic and humorous – qualities wholly absent in Alexander Nevsky. In truth, it is a slighter piece and needs to exude a kind of bitter-sweet charm to keep it afloat. This is a generally swift, jaunty account but favourite versions by such as Abbado are perkier in the “Troika” and more heartfelt in the “Romance”; I find the playing here adequate but workaday, lacking in nuance.
In the end, I can find no compelling reason for recommending this new recording over established classic versions.
Ralph Moore
Previous review: John Quinn
