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Le Sacre du printemps, Petrouchka Super Audio CD
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Description du produit
Andrew Litton has been in charge of the Bergen Philharmonic for eight years, and unflamboyantly has steadily pushed the orchestra up the international rankings. The proof can be heard in these Stravinsky performances, where the refinement and precision of the playing are hugely impressive. Litton's care with the textures in Petrushka and his unfussy way of teasing out the instrumental strands in The Rite of Spring matches that exactness. *** --Guardian,14/04/11
If you are looking for a freshly painted Petrushka or a Rite to shake you up a bit,this is shockingly good.Just make sure the neighbours are out first. --IRR,May'11
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Commentaires client les plus utiles sur Amazon.co.uk
the recording is fantastic
the playing is super on both works
excellent sacd disc
quiet playing is super done
great orchestra great disc
The thing that most impressed me immediately about these performances was the music-making. Petrushka is a particularly difficult piece to carry off, both interpretationally and technically, Here it receives a most sensitive and expressive reading, superbly played. Litton and his fine Bergen orchestra are particularly strong in characterising the individual tableaux. The whole reading has a nicely balletic feel, yet broad Slavic humour and mordant dry wit are also present in abundance.
I haven't enjoyed a performance as much since Haitink's mid-70's reading with the LPO. It's that good.
The Rite is equally fine. The balletic feel is much in evidence again, but Litton resists the temptation to go 'Rite-lite' and bland (like the Jarvi, Nott and Jansons readings, for instance). There is plenty of power and savagery here when appropriate, and the 'shock of the new' - such an important foundation of this revolutionary piece - is well evidenced throughout.
This piece was meant to shock - and it does here.
Although both the classic Stravinsky and Boulez Rites are on SACD, these are both rare and in -how shall we put it politely? - presented in decidedly non-vintage analogue sound. So Litton's Rite goes straight to the top of the tree.
In both pieces, it is clear that Litton and his orchestra have really thought out these pieces from scratch; certainly there is none of the laziness and under-characterisation of many modern performances. At the same time, extremely transparent sound, combined with superb internal balancing, mean that you hear very complex internal music-making with great clarity and directness.
OK, the performances are fine- what about the sound? I am glad to report this is definitely one of BIS's very best. As already mentioned, the first thing that strikes me about this recording is its high degree of transparency. There is also plenty of air and stage, together with staggering dynamic range. So, that's got to be 5 stars, then.
If I were being hyper-crtitical sonically, I would also say:
1) It's a bit hi-fi; the bass drum is exciting but not particularly - to my ears - how one would hear it in the concert hall. In short, it's a bit 'in yer face'.
2) There are too many mikes for my taste; but the spot-lighting, as is usual with BIS, is sensitively handled. If you're going to multi-mike, at least do it like this.
3) There is a trace of PCM-itis on high strings and percussion.
But let's not go there, shall we? Only a fuss-pot like me would even mention these issues.
Bottom line - super readings, fine sound. Strongly recommended, therefore. I can't wait for their Firebird..!
(Stereo SACD layer auditioned)
In Petrushka I would have appreciated a little more earthiness - the smell of the peasant has been somewhat sanitised; the Rite speaks for itself more, but here also I detect a touch of calculation. The bassoon can produce a rude sound when required in Petrushka, but somehow I know it's deliberate. Intellectually I find these performances eminently satisfying.
As usual when listening to a BIS SACD, I put in an extra 2-3 dB of amplification, but that proved insufficient and 4dB seemed to bring out the best in an excellent, wide-ranging recording. In Petrushka I thought the bass drum a little recessed until it was hit hard..... when I realised it had merely been played softly. All the percussion in the Rite is handled excellently (as indeed is the rest of the orchestra). "Polished" is how I found the performance, and the same could apply to the recording, set in an ideal acoustic environment. BIS have produced another winner.