NodopianoCamicie.com - Instruments, Music, Piano and more.

Beginning with Ivan the Terrible, Boris Morgunov gives an exceedingly dramatic reading of the narrative. I've heard caveats issued as to his very poetic interpretation but I enjoyed it. Some Numbers combine both narrative and accompaniment. The Swan (i.e., No. 7 at track 8- the reprise) combines narrative with Irina Arkhipova's mesmerising vocals to add majesty to her graceful introduction of that theme earlier at No. 3 (i.e., track 4). Her performance in "Yefrosinia and Anastasia" again shows why she became a legend: warm, glowing tone and graceful delivery. "Ivan's Appeal to the Boyars" is both narrative and music, and the performance here is movingly desperate. Anatoly Mokrenko is the solid, firm baritone who gives a suitably robust rendition of "Feodor Basmanov's Song". Muti conducts at a slower pace than, say e.g., Gergiev, but there is no sense of lag. The Ambrosian Chorus follow his tempi with precision and they are very well harmonised. They also sing with the right 'slavic' idiom.

Alexander Nevsky, as I have said elsewhere (while reviewing the Abbado recording) is again very well conducted/played/sung under Previn/the LSO/LSC, with Abbado's reading being only more sensitive. A perfectly idiomatic reading with the excellent contribution of Anna Reynolds, who gives a haunting and tragic account of the maiden's lament in "The Field of the Dead". Of course I had to turn to Abbado and the great Elena Obraztsova in the DG recording for a translation. Nonetheless, my experience all the richer for having both (though not financially speaking). "Alexander's Entry into Pskov" is triumphantly done in the finale.

Rachmaninov's "The Bells" is a refreshing end to the intensity of the preceding works, though certainly a worthy composition/performance in its own right. It maps the phases of life from birth to death, using the bells as metaphors. This is another good performance and the style of Russian composition is more akin to Glazunov. The soloists and chorus sound more 'western' here but not so much as to detract from a good quality performance. The Lento (No. 2) is particularly beautiful and Sheila Armstrong's soft, sweet, melodious voice is used to good effect (lovely pianissimi). The other artists (tenor, Robert Tear and baritone, John Shirley-Quirk) also give excellent performances.