This is a great disc. Prokofiev was as unlikely a composer as we might possibly imagine to write successful chamber music for strings. Even his orchestral music, colorful though it is, betrays its origins in his own instrument, the piano, and his general avoidance of counterpoint hardly bodes well for quartet composition (and I don't mean just formal counterpoint, such as fugues). And yet both quartets here, as well as the remarkable Sonata for Two Violins, turn out to be remarkably accomplished and characteristic. The First quartet's driving opening allegro and soulful concluding slow movement is very satisfying both formally and emotionally, and it has never been better played.


The Pavel Haas Quartet, in the best Czech tradition, has the ability to play with a maximum of rhythmic energy without a shred of timbral crudity. This pays huge dividends not just in the First quartet, but particularly in the Second, which is a "socialist realist" essay (but a very charming one) on Kabardinian themes. The Pavel Haas Quartet's two violinists take a star turn of their own in the rarely-heard Sonata for Two Violins, unlike the quartets a four-movement piece in slow-fast-slow-fast form. Its longest part, the concluding Allegro con brio, has an astonishingly full sonority in this performance. Ideally warm, clear, well-balanced engineering flatters the performances, making this disc an essential addition to any Prokofiev collection.

--David Hurwitz, ClassicsToday.com

Prokofiev first attempted to write an opera at the age of nine. His mature operas include The Love for Three Oranges, written in 1919, The Fiery Angel and War and Peace, the last based on Tolstoy's novel. His later ballets include Romeo and Juliet, and Cinderella. Both ballets as well as the first mentioned opera are known to concert audiences from orchestral suites based on them. Prokofiev wrote seven symphonies. Of these, the Classical Symphony, a work written in 1916-17 with the work of Haydn in mind, is the best known. Of Prokofiev's five piano concertos the third is best known, written in the composer's instantly recognizable musical language, from the incisive opening to the motor rhythms that follow, in a mixture of lyricism and acerbic wit. More overtly romantic in feeling are the two fine violin concertos. His early Cello Concerto was followed in 1952, fourteen years later, by a Cello Concertino, completed by the cellist Rostropovich and the composer Kabalevsky after Prokofiev's death. Prokofiev, himself a formidable pianist, completed nine piano sonatas out of a projected eleven. His music for piano also includes piano versions of music from the ballets Romeo and Juliet and Cinderella.

Classical Music

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

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)

Classical Music

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Classical Music

Bach, Tchaikovsky, and now Prokofiev: Evgeni Koroliov continues his outstanding series of interpretations on the TACET label with his remarkable musical touch, and with flying colours. If the performers of these 'Fleeting Visions' did not include Svjatoslav Richter, the competition would be soundly beaten. (FonoForum) Koroliov is an amazing colorist, and he has given US the best complete 'Visions fugitives' I've ever heard. He has the demonic streak to play the 'Sarcasms' convincingly, and he even manages to make sense out of the Fifth Sonata. His kind of pianistic resources are uncommon in any age. (Fanfare)

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

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Classical Music

Two very different aesthetics are combined in Sergei Prokofiev’s Third Piano Concerto: the respectful stance toward the classical con¬certo tradition, and, on the other hand, the stilo barbaro of the Ballets Russes. Visions, op. 22, is a set of twenty ‘snapshots’, each very different in character. The work does not con¬form to a strict overall plan, although Prokofiev shows chronological and musical logic in his arrangement of the pieces. Pianist Yakov Kasman is featured, together with the Moscow State Symphony and conductor Emmanuel Leducq-Barome for the concerto.

Classical Music

Classical Music