Separately, both Freddy Kempf and the team of Bergen Philharmonic Orchestra under Andrew Litton have recorded music by Prokofiev for BIS, resulting in highly acclaimed releases. Freddy Kempf's 2003 Prokofiev solo recital was described as 'a superb disc' in Gramophone, whose critic went on to write: 'Kempf is joyfully exuberant, flashing through every savage challenge with the assurance and instinct of a born virtuoso.' Four years later, the Bergen orchestra and Litton recorded the twenty movements from the composer's three Romeo and Juliet suites, performed in the order the music appears in the ballet score. The outcome of this original approach was widely praised, for instance by the reviewer on the German website Klassik Heute: "a European top orchestra and an American conductor with great insights into the Russian repertoire meet up, and the result is sparkling, colourful, ardent and with great presence..." Kempf, Litton and the Bergen PO now join forces in an all-Prokofiev programme that includes the most popular of his five piano concertos, namely the Third, a spontaneous work, vigorous and melodic in turns and full of striking material presented in a typical Prokofiev manner. This is coupled with the Second Piano Concerto, which Prokofiev himself premièred in 1913, shocking the audience with its modernistic sounds and jagged rhythms. The original score was lost during the Russian Revolution and Prokofiev reconstructed the work in Paris in 1923. According to the composer himself, the new version was so completely rewritten that it almost constituted a new work. Between the two concertos Freddy Kempf performs the Second Piano Sonata, a key work in Prokofiev's development and full of striking and individual ideas.

The music for Egyptian Nights is not well known... Quite a bit of it is melodrama—words spoken (in Russian) over music. One such, the finale of Act I, is quite moving. It is followed by the entracte—close to five minutes of the best music.... You are unlikely to find a more beautiful recording of Eugene Onegin than this one. The German orchestra is better than any other that recorded it, and the Russian conductor understands the music. The sound is gorgeous. There are 76 minutes here, and as far as I can determine, that is every note of the music—for the first time... Boris Godounov is the oddest music here, but very attractive... Both this music and the Eugene Onegin were written for stage plays at the time but never used... I had never heard most of this music before, and I found it really beautiful. It’s a very unusual 29 minutes, and it has Prokofieff’s special genius and originality. As for Hamlet... I would put this ahead of any other account. Again, the orchestra is part of the reason; but Jurowski is excellent—as is the sound. There are ten numbers lasting about 28 minutes— no narrator. There are four songs for Ophelia (mezzo-soprano) and a delightful song for the gravediggers. It may be three discs, but what you get here is certainly worth it. -- American Record Guide

Sergey Prokofiev's Romeo and Juliet was completed after the composer's final repatriation to Soviet Russia after a period abroad. It was written for the Kirov Ballet but early productions faltered, and Prokofiev soon adapted his music to the concert hall. The Suites avoid narrative sequence, selecting crucial moments such as the famous "balcony scene", and dramatic climaxes such as the Death of Tybalt. Composed to celebrate the famous author's 150th anniversary, the Pushkin Waltzes are relaxed, easygoing, and with a typically witty edge.

Classical Music

Marin Alsop’s Prokofiev cycle with the São Paulo Symphony began disappointingly with the Fifth, improved dramatically with the Fourth, and now hits its stride with the Second. Composed, allegedly, with “steel and iron,” or “fire and ice,” or “potassium chloride and sodium bicarbonate,” or whatever, I suspect this work would receive greater respect had it been written by Shostakovich, whose early idiom it somewhat resembles. The major difference is that Shostakovich had the great good fortune to be persecuted by Stalin for his youthful transgressions, while Prokofiev had the sense to get the hell out of Dodge and return much later, a “reformed” man.

Also, no one ever chastised Honegger for cribbing the opening of the first movement in his own “Liturgique” Symphony a couple of decades afterwards. The truth is that the music is really much less nasty than its reputation would suggest, and the first movement, while certainly noisy, actually contains a number of distinctive and appealing musical ideas. So, for that matter, does the concluding second movement, a theme followed by six highly inventive variations. Without minimizing the music’s violent energy, Alsop plays the piece with a vivid sense of its long melodic lines. The first movement, in particular, has plenty of excitement but also a certain lyrical emphasis that gives the music something to be excited about. It’s very convincing.

As for the Classical Symphony, well, just about everyone does it well, and while I can imagine a first movement with a touch more snap to its rhythms, the performance picks up steam as it goes, culminating in a delightfully crisp account of the finale. The early tone poem “Dreams” drifts about prettily for ten minutes, sounding like Debussy or Scriabin or basically anyone but Prokofiev. Does it deserve greater exposure? Perhaps not, but this lovely performance makes as strong a case for it as you might imagine possible. Vivid sonics make this the best release in this series so far.

– David Hurwitz, ClassicsToday.com

Classical Music

One of Prokofiev' best loved works today, Romeo and Juliet was initially declared 'impossible to dance to'.

Based on Shakespeare’s most famous romantic play, Prokofiev’s realization of Romeo and Juliet as a full-length narrative ballet was audacious in its day. It was written during a period of artistic turmoil under a Soviet regime in which arguments raged over such fundamental aspects as the choice between a happy or tragic ending. Famous movements such as the ‘Dance of the Knights’ have helped maintain Romeo and Juliet as Prokofiev’s best-loved stage work. Marin Alsop’s acclaimed cycle of Prokofiev’s Symphonies has been described as “an outstanding achievement” by BBC Music Magazine. Alsop is an inspiring and powerful voice in the international music scene who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative programming and for her deep commitment to education and the development of audiences of all ages.

REVIEW:

This recording is typical of Alsop’s clear-headed approach, revealing her thorough mastery of details, balanced phrasing, close attention to the orchestral sound, and fidelity to the score, which provides many challenges in its episodic structure. This first-rate performance may remind listeners of the classic complete recordings by Previn and Ozawa, and even though those recordings are still readily available, Alsop’s shows that Romeo and Juliet can still inspire a fine interpretation in the digital era, making this recording essential listening for Prokofiev fans.

– AllMusicGuide.com (B. Sanderson)

Sergey Prokofiev’s operatic tragedy The Fiery Angel was never performed in the composer’s lifetime – the music’s brittle energy, drama and eloquent lyrical tenderness would re-emerge in his Third Symphony. The narrative focuses relentlessly on Renata, who is haunted by an angel who turns out to be the devil. Director Emma Dante describes the opera as an explosive mix of fantastical realism and endless confusion of nightmares, madness, sexual impulses and cultural clashes’, and this Teatro dell’Opera di Roma production was acclaimed as ‘a presentation of Prokofiev’s masterpiece which sparkles in all its grotesque glory’ (Operawire.com).

REVIEWS:

The Polish soprano Ewa Vesin tackles the hugely demanding role of Renata with complete conviction… In the pit Alejo Pérez gives a handsome account of Prokofiev’s score.

--BBC Music Magazine

This was a Recording of the Month for January. Prokofiev’s weird opera comes to life in this powerfully ghostly and colorful production which features excellent singing and fine orchestral playing under conductor Alejo Pérez. Actually, there isn’t weakness anywhere in the cast and Emma Dante’s production is imaginative and masterly.

--MusicWeb International

The Fiery Angel seems better than ever. [Supported] by intelligent video direction, this new production is gripping from first to last. Ewa Vesin is as strong a Renata as we’ve had...capable of riding over some very loud music without screaming, and capable of melting self-laceration; and her resistance to the church and patriarchy in the last act is astonishing. Special praise...is due to Goran Jurić as the Grand Inquisitor, huge of voice (and stature) in a way that heightens our appreciation of the forces arrayed against Renata.

The star of the show, though, may well be conductor Alejo Pérez. This is a performance in which every twist and turn, even if unexpected when it comes, makes sense in retrospect. The orchestra sounds as if they’d been playing this music all their lives. All in all, a discographic coup.

--Fanfare

"...Great things were hoped for in Donohoe's new series, the first volume of which features the first five of the composer's nine sonatas. I am comprehensively blown away by the results. There is not a crash-bang-wallop in sight: bags of power, yes, but power focused and targeted at strategic points. What you will hear is a stream of light, pellucid lyricism, from the Romanticism of the early one-movement First Sonata to the delicious classical turn in the opening phrase of the Fifth, along with all the character and acrobatics that begin to emerge through this group. This is Prokofiev as you have not heard him. A major re-evaluation from a towering pianist is under way." - Michael Tumelty, The Herald, Scotland

Sergey Prokofiev
CINDERELLA

Cinderella – Agnès Letestu
The Movie Star – José Martinez
The Sisters – Laëtitia Pujol, Stéphanie Romberg
The Mother – Stéphane Phavorin
The Producer – Wilfried Romoli

Paris National Opera Ballet
Paris National Opera Orchestra
Koen Kessels, conductor

Rudolf Nureyev, choreographer

Recorded live at the Palais Garnier, Paris, on 24, 26,and 28 April 2008.

Bonus:
- Documentary: Cinderella goes to Hollywood
- Cast gallery and illustrated synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (All Regions)
Menu languages: English, German, French, Spanish, Italian
Subtitles: English, German, French, Spanish, Italian
Running time: 185 mins
No. of DVDs.: 2

Note: This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Peter and the Wolf, Prokofiev’s musical fairy tale, has been delighting children since 1936. Nearly 60 years later, in 1995, the young choreographer Matthew Hart created a witty choreographed version for the Royal Ballet School with designs by Ian Spurling. Described as ‘an utterly delightful ballet and a perfect showcase for the younger students,’ by the Royal Ballet’s Director, Monica Mason, it was staged again and recorded for this DVD.

"...Matthew Hart’s Peter and the Wolf is one of the most beguiling children’s ballets around.” - The Telegraph

Matthew Hart, choreographer
The Wolf – Sergei Polunin
Grandfather – Will Kemp
Peter – Kilian Smith
Duck – Charlotte Edmonds
Bird – Laurine Muccioli
Cat – Chisato Katsura

The Royal Ballet School
Royal Ballet Sinfonia
Paul Murphy, conductor

Recorded live at the Royal Opera House, 16 and 18 December 2010.

Bonus:
- Cast gallery
- Documentary feature on rehearsing Peter and the Wolf

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.0
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 38 mins
No. of Discs: 1 (Blu-ray)

Pianist Sviatoslav Richter and cellist Mstislav Rostropovich were among Prokofiev's friends during the last years of his life. They inspired the composer to continue his work and he, in turn, dedicated his 1947 Ninth Piano Sonata to Richter. For Rostropovich he wrote an amazing group of late works, among which was the Sonata for Cello and Piano. Both the Ninth Piano Sonata and the C Major Cello Sonata are considered masterpieces, finding Prokofiev at the height of his powers. The two Sonatinas, Op. 54 are delightful miniature Sonatas, each lasting less than 10 minutes. The two illustrious artists featured on this disc, Donohoe and Wallfisch, partner each other affectionately and in perfect harmony in this recording.

Written in 1944, Prokofiev's Fifth Symphony is one of his greatest and most complete symphonic statements. At it's premiere he himself called it "a symphony of the grandeur of the human spirit". The first movement couples considerable strength with unexpected yet highly characteristic twists of melody. After a violent scherzo followed by a slow movement of sustained lyricism, with a fiercely dramatic middle section, the finale blazes with barely suppressed passion. The Year 1941 is another wartime work, a symphonic suite written in response to the German invasion of the Soviet Union. Marin Alsop has been Music Director of the Baltimore Symphony Orchestra since 2007, a relationship now extended to 2015. Currently Conductor Emeritus of the Bournemouth Symphony Orchestra and Music Director Laureate of the Colorado Symphony Orchestra, since 1992 she has also been Music Director of California's prizewinning Cabrillo Festival of Contemporary Music.

Alain Vernhes, Martial Defontaine, and Francois Le Roux star in this Netherlands Opera production of the Prokofiev opera conducted by Stephane Deneve.

Note: This Blu-ray Disc is playable only on Blu-ray Disc players, and not compatible with standard DVD players.

Also available on standard DVD

Sergey Prokofiev
ROMEO AND JULIET
(Blu-ray Disc Version)

Romeo – Federico Bonelli
Juliet – Lauren Cuthbertson
Mercutio – Alexander Campbell
Tybalt – Bennet Gartside
Benvolio – Dawid Trzensimiech
Paris – Valeri Hristov
Lord Capulet – Christopher Saunders
Lady Capulet – Christina Arestis
Esclasus – Gary Avis

Royal Ballet
Royal Opera House Orchestra
Barry Wordsworth, conductor

Kenneth MacMillan, choreographer

Recorded live at the Royal Opera House, March 2012

Bonus:
- Documentaries on Kenneth MacMillan’s production
- Sharps, Points and Pirouettes – the famous sword fight scene
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles (bonus): French, German, Italian, Spanish, Portuguese, Japanese
Running time: 158 mins (ballet) + 15 mins (bonus)
No. of Discs: 1 (BD50)

Pianist Anna Shelest was born in Kharkiv, Ukraine. She began studying piano at six years old, and later attended the Kharkiv Special Music School for Gifted Children, where she studied under Sergei Polusmiak and Gary Gelfgat. A multi-award winning artist, she won her first competition when she was only eleven at the Milosz Magin International Piano Competition. She has since gone on to win the Louisiana International Piano Competition, Kawai American Recording Contest, Bradshaw-Buono International Piano Competition New York, and many more. Recorded in the Czech Republic in 2014, this release features Sergei Prokofiev’s Piano Concertos Nos. 1 and 2. These works were written early on in Prokofiev’s career, and feature his virtuosic and wildly dissonant style which caused his first leap into fame.

Review quote:

"Prokofiev, himself a virtuoso, wanted to make sure that the piano part stood out, and where he recesses the accompaniment or provides cadenzas and solo passages Shelest’s playing is very present in audio terms. Considering his ambition to be considered a Modernist the equal of Stravinsky, I think Prokofiev came closest in his concertos, one genre where Stravinsky wasn’t dominant. Prokofiev’s piano writing remains fresh and powerful to this day, and Shelest can be proud of her achievement in exploiting every gesture to its fullest. Slimline cardboard packaging, and very readable program notes." - Huntley Dent, Fanfare

Prokofiev: Violin Concertos Nos. 1 & 2 - Sonata for 2 Violin

Also available on Blu-Ray disc.

Peter and the Wolf, Prokofiev’s musical fairy tale, has been delighting children since 1936. Nearly 60 years later, in 1995, the young choreographer Matthew Hart created a witty choreographed version for the Royal Ballet School with designs by Ian Spurling. Described as ‘an utterly delightful ballet and a perfect showcase for the younger students,’ by the Royal Ballet’s Director, Monica Mason, it was staged again and recorded for this DVD.

"...Matthew Hart’s Peter and the Wolf is one of the most beguiling children’s ballets around.” - The Telegraph

Matthew Hart, choreographer
The Wolf – Sergei Polunin
Grandfather – Will Kemp
Peter – Kilian Smith
Duck – Charlotte Edmonds
Bird – Laurine Muccioli
Cat – Chisato Katsura

The Royal Ballet School
Royal Ballet Sinfonia
Paul Murphy, conductor

Recorded live at the Royal Opera House, 16 and 18 December 2010.

Bonus:
- Cast gallery
- Documentary feature on rehearsing Peter and the Wolf

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.0
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 38 mins
No. of DVDs: 1

This enchanting DVD captures 2011’s Christmas performance from the students of the Royal Ballet Lower School. All of the cast seem to be of primary school age, with the adult dancers Sergei Polunin and Will Kemp brought in as the Wolf and Narrator. Matthew Hart’s realisation of Prokofiev’s score as a ballet had first been seen in 1995 and it works very well indeed. Hart says in a short extra film that one of his aims had been to get as many dancers as possible onto the stage. He provide roles not only for the principal characters but for the corps as the physical elements of the story: dancers embody the hunters, the grass of the meadow, the waves of the pond, the trees of the forest and the wall next to Peter’s house. The choreography is simple without being simplistic and Hart tells the story very well. The principals are all extraordinarily proficient for their age, particularly the three girls playing the bird, duck and cat, who have the flexible movement of their creatures down to a T. Kilian Smith’s Peter is brave and likeable, while Polunin’s wolf embodies the sinister characteristics of a pantomime villain with that extra bit of danger. Will Kemp doubles as on-stage narrator and as Grandfather. The bright primary colours of both set and costumes work very well, and the only piece of staging is a bulky frame which is used for the tree, covered in graffiti about the story. The orchestra plays very well and the 5.1 surround sound brings the story to life. The only thing I missed, compared to an audio only recording, is the sense of intimacy with the narrator, something necessarily lost in a production such as this one, but if you don’t mind that then you’ll enjoy this very much. If you know some children who enjoy dancing, or if you want to get some children interested in dance for the first time, then this is especially for you.

-- Simon Thompson, MusicWeb International

Prokofiev: Symphony No. 5 - The Year 1941

This is the second and final disc in a cycle of Sergei Prokofiev’s (1891–1953) piano concertos with pianist Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu. The Gramophone Magazine wrote regarding the first volume in the series: "How many times have I regretted a shortage of fantasy, flair and fairy-tale imagination in recordings of the Prokofiev piano concertos? Well, here is a disc that takes all those qualities to the top."

Prokofiev’s Piano Concertos are among 20th century masterpieces. He wrote this magical work just before World War I. The original score was destroyed during the Russian revolution, and Prokofiev had to re-write the concerto in 1923.

Pianist Olli Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, New York Philharmonic and The Royal Concertgebouw, partnering conductors such as Ashkenazy, Barenboim, Dutoit, Eschenbach, Harnoncourt, Masur and Nagano. As a recitalist, he plays in all the significant musical capitals, including Mariinsky Theatre St Petersburg, Wigmore Hall, Beethoven-Haus Bonn, Symphony Center Chicago, New York Zankel Hall and Sydney Opera House. His many albums for Ondine include Respighi’s Concerto in modo Misolidio with Sakari Oramo and the Finnish Radio Symphony and a critically acclaimed disc of Scriabin’s solo piano music. The recent recordings by the Finnish Radio Symphony Orchestra under Hannu Lintu on Ondine have been a fruitful collaboration gathering excellent reviews in the international press.

Prokofiev, S.: Piano Sonatas Nos. 1-3 / Visions Fugitives

This awaited release is the first disc in a series of Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu performing the Piano Concertos by Sergei Prokofiev. Without a doubt some of the most substantial twentieth century masterworks, Prokofiev’s piano concertos prove the composer’s brilliant piano skills. The composer premiered his First Piano Concerto in 1914. The Third Piano Concerto is the most popular of Prokofiev’s concertos. The piece took several years to complete, and premiered in Chicago in 1921. Prokofiev’s Fourth Piano Concerto (for the left hand) is the most rarely heard of the three concertos featured on this recording. He wrote the piece in 1931 for pianist Paul Wittgenstein, but the work wasn’t performed until 1956. Olli Mustonen is sought after by orchestras all over the world, and he has performed and recorded with such groups as the Berlin Philharmonic, the New York Philharmonic, and The Royal Concertgebouw. His recent collaborations with the Finnish Radio Symphony have garnered excellent reviews.

REVIEW:

How many times have I regretted a shortage of fantasy, flair, and fairy-tale imagination in recordings of the Prokofiev piano concertos? Well, here is a disc that takes all those qualities to the top, gleefully goes over it, and ends up halfway down the other side. The super-light, transparent textures Hannu Lintu conjures from the orchestra are an excellent foil for the soloist. If there is room in your collection for several sets of the Prokofiev concertos, this one at least comes with a provocative distinctiveness.

– Gramophone

Neither of these ballets receives regular performance on stage or in concert. Indeed, L'enfant prodigue enjoys the remarkable distinction of being ignored both in ballet form and as arranged (twice!) as the composer's Fourth Symphony. And yet the composer's unwillingness to let go of the music tells us something, for although it isn't in his popular, "Romantic" vein, it's a pretty substantial 38 minutes that contains plenty of first-rate invention. And in fact the same holds true for Le Pas d'Acier (The Steel Steps), which many listeners associate with Mossolov's Iron Foundry and other examples of Socialist Realist machine music. In reality, it sounds just like Prokofiev, full of the gawky harmonies, rhythmic ostinatos, bass drum-laden and heavy brass orchestral textures, and the hard brilliance that feature prominently in all of the composer's big works.


So the bottom line is that both ballets are in fact consistently inventive, ear catching, and very well played and recorded by Michail Jurowski, the WDR orchestra, and CPO. Jurowski manages to maintain a consistent level of excitement and energy without ever becoming crude or coarse, which is no mean achievement in the more densely written passages. There aren't many recordings of these pieces in any case, and if you enjoy the Prokofiev of, say, The Gambler and the other early operas, you really ought to give this a listen.
--David Hurwitz, ClassicsToday.com

At first glance, the choice of composers for this recording seems like an odd match: one cultivated a harsh, expressive musical language, while the other was a proponent of introspective soundscapes. One piece ends in an explosion, while the other offers us meditative contemplation. We also have an apparent clash of nationalities: Prokofiev was Russian, (b. Sontsivka, Ukraine) Silvestrov is Ukrainian, and conductor Dmitry Matvienko is Belarusian. But through art and music, we can always meet in dialogue and mutual understanding. What may first seem like madness has a clear logic. In Dmitry Matvienko's view, there are strong links between the two composers. Quoting Valentin Silvestrov's belief that "only melody makes music eternal," Matvienko explains why he chose Quiet Music for this recording. Despite very different musical languages, both composers were exceptional melodists who regarded melody as the foundation of all music, regardless of genre or 20thcentury avant-garde trends. Matvienko also sees both works as shaped by their historical realities. Prokofiev's symphony reflects the devastation of the post-war era and foreshadows future catastrophe, while Silvestrov's Quiet Music, written in 2002, predates but resonates deeply with later conflicts. Prokofiev could not have imagined the tragedy that would unfold decades after his death, yet history reveals the cyclical nature of evil. His work on Eisenstein's Ivan the Terrible exposed a ruler's destructive paranoia - an allusion Stalin recognized. Today, Matvienko argues, history repeats itself in new forms. Against this, Silvestrov's Quiet Music offers consolation: a place of refuge open to anyone, beyond nationality or religion, where sorrow can briefly be set aside. It was very important to Dmitry Matvienko to include this piece in this recording: "Silvestrov said in one of his interviews" - "I am so tired of the noise of this world ",- "I understand that and feel it very deeply. More and more often I walk at night and listen to his music; not in headphones, but inside. And it gives me peace. I want this piece to be therapy and solace for our listeners as well."