Sergei Rachmaninov (1873-1943)
A Rachmaninoff Spectacular
Piano Concerto No. 2 in c-minor, op. 18 (1901)
Choral Symphony, op. 35 (1913)
Tali Morgulis (piano)
Viktor Antipenko (tenor), Yelena Dyacheck (soprano), Sergei Leiferkus (baritone)
University of Houston Moores School Combined Choruses
Moores School Symphony Orchestra/Franz Anton Krager
rec. live, 2 December 2023, Moores Opera House, University of Houston, USA
Reviewed as download
High Definition Tape Transfers HDTT23042 [73]

I don’t usually begin a review of a recording by referring to its engineering, but the depth, richness and amplitude of the sound here achieved by Producer and Recording Engineer John Proffitt is instantly very striking, right from what the notes aptly call the “dark, tolling piano chords at the opening of the concerto”. This “Rachmaninoff Spectacular” is yet another HDTT issue in equally spectacular “High-Definition Surround Sound” and comes over with startling clarity and immediacy. This has in the past also unfortunately occasionally resulted in audience noise being too faithfully reproduced, but they are on better behaviour here and there is minimal extraneous distraction with only a few discourteous coughs and sneezes.

We are treated to big, grand, rolling pianism by Tali Morgulis, so it is a pity that the woodwind intonation at 4:13 is not so impressive, being momentarily so out of tune – but that is a passing blemish and generally the orchestra is admirable; I would single out especially the accuracy of the principal horn in the second theme and the sonority of the cellos in the coda. The lead clarinet redeems itself in its solo in the Adagio and the pianist discreetly takes a back seat to the succession of riffs from other sections, gliding and rippling most seductively before gradually building to a beautifully articulated cadenza and a glorious restatement of the main theme by the violins over the piano’s rocking chords. Sadly, some ignoramus actually starts to clap just before the conclusion of the Adagio – a double faux pas…

The finale makes fearsome demands upon the pianists prestidigitation, to which she rises heroically and her playing is suitably stormy and highly energised. Maestro Kraeger and his cohort keep up with her – indeed, coordination is very good, evidence of conscientious rehearsal. The recapitulation sings gratifyingly and the coda is menacing, thrilling and climactic by turns, with a really positive, emphatic restatement of the Big Tune and a thunderous conclusion met with rapturous enthusiasm by the audience.

The second half of the concert features The Bells, making a neat pairing, In the opening Silver Sleigh Bells, both the vibrant, powerful, very Russian tenor soloist and choir are mightily impressive, aided by the excellent balance and the flexibility of Kraeger’s direction – in fact, this performance is in many ways the most attractive I have ever heard – and that includes a fairly recent live performance at the Royal Festival Hall in London which left me indifferent compared with my far more visceral response to this one. The sleigh ride positively clatters along most engagingly.

The orchestra plays the long, languorous introduction to the Mellow Wedding Bells with real feeling. The big acoustic means that the Russian version of Edgar Allan Poe’s text is not especially lucid but as far as I can tell the choir’s and soloists’ diction is good. Soprano Yelena Dyacheck has an evenly produced, powerful voice with a dark, mezzo-ish quality – and also a rather pulsing vibrato, but that is not out of place in this typically soulful music and she is capable of reining in her big sound to sing poised pianissimi.

The chorus really comes into its own with a terrific rendering of their showpiece The Loud Alarm Bells; they sound totally committed and involved, and make a heck of a racket – in the right way, I hasten to add. The first climax against rattling snare drums is decidedly scary, the shifting, disturbing harmonies and weird intervals expertly tuned and maintained, and the ominous conclusion first baleful then overwhelming.

I imagine that it was something of a coup to engage renowned, internationally-known Russian baritone Sergei Leiferkus to sing the solo in the concluding movement, The Mournful Iron Bells. He is now in his late sixties but still active. The bite and power of his baritone are still present and he retains his histrionic capability, especially as he is singing in his native tongue, but unfortunately his vibrato has loosened alarmingly and the tone has coarsened – flaws which are all the more apparent given the revealing distinctness of the recording.

This is a highly entertaining double bill which serves as valuable souvenir of a splendid live concert and despite some negligible issues succeeds in winning over the listener via its sheer verve and energy.

Ralph Moore