Prokofiev was a true cosmopolitan; during parts of his somewhat nomadic existence the Russian composer spent time in the United States, France, and Germany. Fitting, then, that the cast featured on this new Naxos release features Polish contralto
Ewa Podles, the Latvian State Choir, and the
Orchestre National de Lille, all under the direction of Frenchman
Jean-Claude Casadesus.
The opening of
Prokofiev's enormous cantata Alexander Nevsky begins somewhat cautiously, though; a feeling of fragmentation pervades through most of the opening ("Russia under the Mongolian Yoke"). This is especially apparent within the woodwind section -- their beautiful lines don't seem to connect, interlock, or relate to another in a way that gives poetic meaning to the work. However, the Latvian State Choir excels throughout this performance, especially in the "Song of Alexander Nevsky." Where other choirs often become weighed down under the size and depth of the orchestra, the Latvians never let the music lose its sense of sweep or lilt. Additionally, they sing with lucidity throughout, especially considering their wide range of color and dynamic contrast. In "the Teutonic Knights in Pskov," the brass and percussion lack the bold and beefy sound that expresses the brutality of
Prokofiev's imagery -- but the eerie, brooding, choral section that follows it is intensely gripping. Here, and in a few other sections,
Casadesus creates a grandiosity and emotional depth that is powerfully unnerving. The percussion writing, all-too-frequently mashed together, is crystal clear throughout this recording; "Arise, ye Russian People" is no exception.
Casadesus gives great attention to their balance, bringing out, among other things, an excellent xylophone solo. Unfortunately, much like the opening, the "Battle on Ice" is unconvincing and sluggish, a patchwork quilt of awkward tempo shifts (just listen to
Abbado's [W7527] excellent Deutsche Grammophon recording to hear a more seamless approach).
Ewa Podles delivers a heart-wrenching performance of "the Field of the Dead," even if she occasionally has to compete with the orchestra for attention. Her dark, wispy voice poignantly captures the character of this eerie movement. "Alexander's Entry into Pskov" almost brings Nevsky to a brilliant close, if only
Casadesus had the strength to hold the final chord a hair longer -- a huge let-down!
The Lieutenant Kijé Suite shows off some of the French dextérité of the orchestra. Not only is
Casadesus' reading more spirited here than in his Nevsky, he lets his players take the lead, beginning with a glistening trumpet solo. The "Romance" double bass solo is, in a word, stunning; the unknown players' haunted, translucent sound is one of the most beautiful on record and avoids the usual dull graininess. While the playing of the orchestra is not always top notch, the standard is very high overall, and Kijé comes off very well. The good sound on both of these live recordings makes a decent budget entry point for two of
Prokofiev's most popular works. However, when compared with the excellent recordings of
Abbado,
Dutoit [W21482], and
Gergiev [W103854], this disc is hard to recommend.