Hector Berlioz (1803-1869)
Roméo et Juliette, H 76, Dramatic Symphony – Orchestral Music
Alexander Scriabin (1877-1915)
Le Poème de l’extase, Op 54
BBC Symphony Orchestra and Chorus (Berlioz); London Symphony Orchestra (Scriabin)/Gennady Rozhdestvensky
rec. live, 24 January, 1976, Royal Festival Hall, London (Scriabin); 1 April 1981, Royal Albert Hall, London (Berlioz)
ICA Classics ICAC5172 [77]
ICA Classics have been doing valuable service recently by issuing some live performances given in the UK by Gennady Rozhdestvensky (1931-2018). Not long ago, I gave a warm welcome to a 2-CD set of Shostakovich symphonies given under his baton (review). Rozhdestvensky served as Chief Conductor of the BBC Symphony Orchestra from 1978 to 1981. His term with the orchestra was all-too brief: if I remember correctly, the USSR authorities, who in those days closely controlled the careers of their artists, would not allow him to extend his contract after the initial three-year period. Here we have an example of his work with the orchestra towards the end of his time at the helm and, in the case of the Scriabin, one of the performances which may well have prompted the BBC to hire him.
This latest release, though it has much to commend it, is curious in one crucial respect. Rozhdestvensky omits all the sections of Roméo et Juliette that involve either the three vocal soloists or (with one small exception) the chorus. In so doing he loses a substantial amount of music. I can best illustrate that by pointing out that the music which Rozhdestvensky plays lasts for 57:40 whereas the concert performance of the complete work given by Sir Colin Davis in January 2000 and issued by LSO Live plays for 99:11 (LSO 0003). I don’t know why Rozhdestvensky chose to omit so much music and Harlow Robinson doesn’t address the point in his notes. It’s a pity that we are deprived of so much of Berlioz’s wonderful score.
I liked a lot about Rozhdestvensky’s account of the orchestral excerpts. ‘Combats – Tumulte’ is full of energy while the brass playing in ‘Intervention du Prince’ is suitably dramatic. In ‘Roméo seul – Tristesse’ the Russian conductor ensures that the mood of introspection registers strongly; soon after the ‘Grande Fête chez Capulet’ has plenty of swirl and swing to it.
Though the performance omits almost all the vocal music, there’s one small exception. In the opening pages of the ‘Scène d’amour’ male singers of the BBC Symphony Chorus are on hand to let us hear the revels of the guests as they depart from the festivities chez Capulet. Unfortunately, although the gentlemen sing well, they are very ‘present’; Berlioz meant us to hear the revellers at something of a distance. This is a tricky passage to balance in the concert hall but here the singers are far too close. The effect is rather better managed in the aforementioned Colin Davis recording. When we get into the love scene itself Rozhdestvensky’s performance has warmth and passion. However, there are a few occasions when Berlioz moves the tempo along briefly and I don’t think that Rozhdestvensky is entirely successful at doing this. Davis is much better at making – and integrating – these changes of pulse; in so doing he reminds us that we are witnessing a pair of young lovers; I don’t get the same feeling with Rozhdestvensky. Overall, Rozhdestvensky’s account of this rapturous and richly poetic music seems just a bit on the heavy side to me, especially when compared with Davis. In fairness, the BBC sound is rather closely balanced and I don’t think that helps to distil the magic in the music.
The ‘Scherzo: La Reine Mab’ receives an animated, precise performance from the BBC Symphony Orchestra. I have to say, though, that the LSO bring even more vivaciousness and sparkle to the Davis performance. The present performance ends with the scene at the Capulet tomb. Rozhdestvensky and the BBCSO do this well. In the course of some 8 minutes of music Berlioz depicts a wide range of rapidly changing emotions. Rozhdestvensky brings all these out, especially the ‘Joie délirante’ passage. But then the music fizzles out rather abruptly; we hear the desolate solo oboe in the ‘mort des deux amants’ followed by two pizzicato bass notes and that’s it. Of course, Berlioz never intended a performance of his score to end in that rather perfunctory way; in the full version of the score the Finale then begins with a brass fanfare but we don’t hear that or any of the music that follows. Frankly, it’s a rather unsatisfactory way to end Rozhdestvensky’s performance (there’s no applause). The BBCSO plays well throughout the performance, though the response of the LSO on the Davis live recording is more accomplished and nuanced.
The rest of the disc is given over to a performance of Le Poème de l’extase in which Rozhdestvensky conducts the LSO. To be honest, this hedonistic hothouse music doesn’t do a great deal for me. However, I concur with Harlow Robinson’s judgement that Rozhdestvensky’s interpretation is “sensuous, soaring and no-holds-barred”. The LSO’s principal trumpet – I wonder who it was – has a field day; the trumpeter’s bright, silver tone cuts unerringly through the textures as Scriabin intended. For my taste, the sound is too close; the orchestral sound lacks bloom or sufficient space round it.
The recordings have been remastered by Paul Baily. He’s done a good job; it’s not his fault that the BBC balanced both performances rather closely. As it is, the recorded sound doesn’t impede one’s appreciation of this charismatic conductor at work. There’s much for Rozhdestvensky’s admirers to enjoy here – as ever with this conductor, there’s never a dull or routine moment. I hope that ICA Classics will issue more examples of his work in the UK.
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Roméo et Juliette – excerpts
‘Combats – Tumulte – Intervention du Prince’
‘Roméo seul – Tristesse – bruit lointain de bal et de concert – Grande Fête chez Capulet’
‘Scène d’amour – Nuit sereine – Le Jardin des Capulets’
‘Scherzo: La Reine Mab’
‘Roméo au tombeau des Capulets – Invocation – Réveil de Juliette (Joie délirante, désespoir, dernières angoisses et mort des deux amants)’
