| Tchaikovsky Francesca da Rimini, Op. 32 b . From 2531 211 (2/80). a Kenneth Riegel (ten) a Tanglewood Festival Chorus; a Boston Symphony Orchestra; b Israel Philharmonic Orchestra / Leonard Bernstein. |
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| DG (Mid price) (LP) 415 009-1GX2 (two records, nas) (Cassette) 415 009-4GX2. |
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The affinities between Liszt's Faust and the symphonic poems of Tchaikovsky have been brought out in most recorded performances and they are not missed by Bernstein, whose extremely volatile account is rather similar to the newest Erato version by James Conlon recorded in Rotterdam (NUM751582, 1/85). The late-seventies DG recording hold up well when compared with Erato's newer digital sound balance, which is more brilliant but has less ambient warmth. Liszt's invention uneven in quality (the rather endearing and certainly memorable main theme of the first movement only just stops short of banality) and the music—as Sir Thomas Beecham knew well—needs a little coaxing. Beecham's famous 1960 HMV version (SXDW3022, 12/75) seems unable to hold a permanent place in the catalogue. Thus Muti's HMV set with the Philadelphia Orchestra, which is ardently committed in the outer movements and has a balanced tenderness in the "Gretchen" centrepiece, seems a clear first choice among modern versions (SLS143570-3, 12/83).
The melodramatic neurosis of the piece is even more striking with both Bernstein and Conlon. Bernstein secures a compulsive response from his Boston players and this could receive a strong recommendation at mid-price were it not for the new Tchaikovsky coupling. This Francesca da Rimini, although passionately conceived, is let down by the unbeguiling playing of the Israel Philharmonic in the idyllic middle section. Conlon offers instead splendid versions of the Two episodes from Lenau's Faust; a much better choice.
IM