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True, under the infectious leadership of Gustavo Dudamel (no longer quite such a dead ringer for Carlos Valderrama), the verve of these performers is quite incredible. But can they convincingly handle The Rite, with its batty accelarations and daringly skewed rhythmic idiosyncracies? Happily, the answer is resoundingly positive throughout. Alongside the gusto and through the joie de vivre of this orchestra, they are truly microscopic in their detail.
Early on, the Danses des adolescentes seems almost too obvious an example of the youthful exuberance you'd expect, but it truly does reverberate something inescapably childish in its brashness. Youthful players will always be disposed to the more bombastic sections of brass and percussion (the novelty of making a ruddy big noise is yet to wear off), but it is wonderful to hear that as much attention has been paid to the nimble sections. The trumpets' flutter-tonguing during Action rituelle des ancetres is especially worm-like, almost invasive, and so confident. The SBYOV are, if nothing else, eternally fixated on making the tiniest gesture as effective as it can be.
Now that the orchestra and their flamboyant artistic director have recorded some truly seminal works in their latest and most noteworthy incarnation (try their Mahler 5 if you have a spare afternoon), and they can now add The Rite of Spring to them. They've tacked on a super rendition of Mexican composer Silvestre Revueltas' quixotic La Noche De Los Mayas too, but all talk will be of how the Simón Bolívar Youth Orcherstra of Venezuela conquered Stravinsky's Rite. What next? --Daniel Ross
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The recording lacks excitement, it seems more a showcase of precision than anything else. I suspect the main culprit might be an obsession with dynamics: in the quiet sections the orchestra is so conscientiously quiet that the playing is flat, the music should ache with longing at these points, instead it feels disconnected from the other parts, as if it were a separate interlude; but during the louder sections it feels wrong too, far too mechanistic and far too polite. I think that if this recording was my introduction to the Rite of Spring I would not see what all the fuss was about.
My recommendation would be to opt for a recording of the Rite of Spring which crackles with passion and violence: either Gergiev and the Kirov Orchestra, or Bernstein and the New York Philharmonic. These recordings reveal the Rite as probably the greatest piece of music of the twentieth century.
The Stravinskij music is handled with nothing less. Although it for me doesn't surpass the Bernstein treatment of it. The Bernstein version was more of a collective immediate force. Here the focus seems to be on clarity and perfection of details. It gives a somewhat different experience.
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