Sinopoli strikes close balance

Press, 27 July 1989, Page 14

Sinopoli strikes close balance

discs

ALLAN FRANCIS

PUCCINI: Manon Lescaut. Giuseppe Sinopoli conducts the Royal Opera Orchestra and Chorus with soloists, Kiri Te Kanawa, Placido Domingo, Thomas Allen. CGV Stereo Video C 64105 — 1983.

Since the golden age of Maria Callas and other versions from the 1940 s and 50s there has been little serious challenge to what had gone before. Theoretically, the Domingo version of 1972 with Bartoletti was intended to put Callas to rest, but this was not the case; this version, along with the Domingo/Bartoletti from 1963 left much to be desired.

Domingo again teamed up with Covent Garden in 1983 for a totally revised production under the masterful guidance of Sinopoli, with Kiri Te Kanawa as Manon.

This plan dispensed with most of the faults earlier, though a year later Sinopoli again recorded the opera, this time Mirella Freni as Manon, but with the Philharmonia Orchestra to give a richer orchestral texture. In both of these accounts Domingo was superior to the 1972 version, but the unassailable Manon proved to be Mirella Freni. In a way it

is a pity that the video version overlooked this point, but the visual impact of the 1983 production is impressive, where Sinopoli strikes a close balance between the voices and orchestra.

Domingo, too, varies his volume this time around, and is obviously happier in this company. If Kiri Te Kanawa lacks some sympathy for the heroine, Domingo is heroic as Des Grieux. The video has much to offer — the sound and colour are both refined as well as spectacular. It is easy to follow if you already have a libretto (none provided); Sinopoli proves to be in the same class as Serafin and Perlea, but he has greater resources to play with and makes the most of his advantages. A newcomer, Thomas Allen, is impressive as Lescaut, so good in fact that it raises a question why Sinopoli opted for Renato Bruson in his later revised production (1984). Kiri Te Kanawa sings superbly, but creates an unfortunate note of artificiality to the character of Manon. If the viewer takes stock of such matters, there are few videos that carry such a cast of top names as "Manon Lescaut,” this particular ver-

sion comes in tandem with “Otello” where she makes a delayed appearance. Domingo though, is almost a guarantee of reliability. MENDELSSOHN: Symphony No. 4 “Italian.” Midsummer Night’s Dream, played by the Slovak Philharmonic Orchestra conducted by Anthony Bramall. NAXOS CD 8.550055 DDD.

This symphony cries out for the treatment accorded by Abbado and Karajan, who can give the expansive and luminous qualities to the work. The digital recording helps enormously, so most of the older LPs sound thin and pale by comparison. Anthony Bramall has had all these things in mind when he has recorded this stylish though measured performance. There are no crazy speeds here, that was the hallmark of Solti and others who felt that the bubbling good spirits should be represented by frenetic tempos. Delicacy and rich sound — especially from the strings — are uppermost.

The five selections from “Midsummer Night’s Dream” are especially colourful. JOHN WILLIAMS: Music composed and conducted by John Williams. WARNER BROTHERS CD 925 668-2.

Even though the Hollywood musical image has expanded and become more sophisticated, there is no question of dispensing with the good old heavenly choir and the soaring orchestral tuttis that were essential to the soap operas from the beginning.

John Williams has no alternative and leads straight in with the Ambrosian Junior Choir, before getting into the knottier parts of the drama. Even without having seen the film, it is not hard to see the action depicted by John William’s colourful score, augmented by a few snatches of Chopin and a ■traditional march.

Footing it with Steven Spielberg automatically ensures music of the most gripping kind, Williams is not found wanting here.

MUSSORGSKY: Pictures at an Exhibition. Night on Bare Mountain. BORODIN: In the Steppes of Central Asia, Polovtsian Dances played by the Slovak PO, conducted by Daniel Nazareth. NAXOS Cassette 4.550051.

The Slovak players have an almost impossible task here, mounting a challenge to the versions of the Concertgebouw and Berlin Orchestras, who in turn have recently capped winners from Giulini and Ormandy. Karajan’s respective recordings from 1959 and 1987 are clear leaders in the field, where the “Pictures” are concerned, but this newcomer tackles the giants with zest. The Slovak Philharmonic is proving a formidable contender with recordings such as these.

Sound quality is top rate throughout, with a total absence of tape hiss or dullness, and the generous programme is topped off with three of the main poems in the Russian repertoire.

“The education of the ear is 50 years behind that of the eye. We are still hostile to sounds that surprises us. Bad music always sounds pleasant, but good music makes you gnash your teeth.” — Pierre Boulez. Esquire, 1969.