For their previous recordings of the complete Nutcracker (9/91), and Swan Lake (12/91), Naxos used the Czecho-Slovak Radio Symphony Orchestra in Bratislava under Ondrei Lenard, and they produced bright, extrovert, even at times racy performances, which were given vivid digital sound to match. The playing certainly did not lack zest but—especially in The Nutcracker—there was less in the way of charm, and at times one felt the conductor drove his orchestra rather hard. For the new complete Sleeping Beauty the company have moved to Kosice and the Slovak State Philharmonic Orchestra, which is a very impressive band indeed. Moreover, their conductor here, Andrew Mongrelia—who is currently also working with the CBSO in Birmingham—is clearly a ballet conductor to his fingertips. His account of Tchaikovsky's second great full-length ballet is not only dramatic, when called for, but graceful and full of that affectionate warmth and detail which readily conjure up the stage imagery. Moreover, the House of Arts in Kosice seems to have just the right acoustics for this work.

If the sound is too brilliant the louder passages of Tchaikovsky's score can easily hector the ear; if the effect is too mellow, the result can become bland. Neither happens here—the ear is seduced throughout and Mongrelia leads the listener on from number to number with an easy spontaneity. Characteristically he opens the Prologue with a bright, sharply rhythmic introduction, after which the great tune for the Lilac Fairy is spaciously conceived. The March for the "Entry of King Florestan and his courtiers" is nicely paced and (at 4'03") reaches a splendidly regal climax. There is a lovely lyrical feeling for the "Entrance of the Good Fairies" (track 3) and the delicious ritenuto at 2'45" is indicative of the finesse which is to give pleasure throughout. The woodwind playing is delightful (try track 9 with its 'singing canaries'—so like Delibes in its scoring). At the end of Act 1 the Lilac Fairy's tune is given a spacious, frisson-creating apotheosis. The alert Introduction to Acts 2 and 3 bring crisp brass and busy strings on the one hand, arresting hunting horns on the other, and what sparkling zest there is in the strings for the following "Blind-man's buff" sequence, while the famous Act 2 Waltz has splendid rhythmic lift. The "Rose Adagio" is as passionately romantic as anyone could wish, and later the delectable "Panorama" flows along very gently over its syncopated bass. In "Aurora's Variation" of Act 1 and the Entr'acte for the scene change in Act 2 the violin solos are most beautifully played; there is a fine cello solo, too, for "Desire and Aurore". The Act 2 finale brings a spectacular Tchaikovskian climax.