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Prokofiev: Love for Three Oranges
 
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Prokofiev: Love for Three Oranges [Box set]

~ Larissa Shevchenko (Artist), Konstantin Pluzhnikov (Artist), Vassily Gerello (Artist), Alexander Morozov (Artist), Mikhail Kit (Artist), et al.
4.5 out of 5 stars See all reviews (2 customer reviews)

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Product details

  • Audio CD (15 Jan 2001)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Box set
  • Label: Universal Classics
  • ASIN: B0000544G8
  • Other Editions: MP3 Download
  • Average Customer Review: 4.5 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 62,624 in Music (See Bestsellers in Music)

    Popular in these categories:

    #4 in  Music > Opera & Vocal > Opera > By Composer > Operas-Complete > Prokofiev
    #59 in  Music > Classical Instrumental > Composers > M-P > Prokofiev

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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.


Disc 1:

Extraits
Song TitleArtist Time Price
Listen  1. The love for three oranges. Op.33 - Prologue - Tragediy! Tragediy!Fyodor Kuznetsov 4:04£0.79
Listen  2. The love for three oranges. Op.33 - Act 1. Scene 1 - Bedniy sïn!Mikhail Kit 5:05£0.79
Listen  3. The love for three oranges. Op.33 - Act 1. Scene 1 - Igrï? Spektakli?Konstantin Pluzhnikov 3:30£0.79
Listen  4. The love for three oranges. Op.33 - Act 1. Scene 2 - Mag Cheliy!Larissa Shevchenko 4:01£0.79
Listen  5. The love for three oranges. Op.33 - Act 1. Scene 3 - Moi zhelaniya vstrechayut prepyatstviyaLarissa Diadkova 3:44£0.79
Listen  6. The love for three oranges. Op.33 - Act 1. Scene 3 - Kto etot chelovek?Larissa Diadkova 6:25£0.79
Listen  7. The love for three oranges. Op.33 - Act 2. Scene 1 - Smeshno?Konstantin Pluzhnikov 6:41£0.79
Listen  8. The love for three oranges. Op.33 - Act 2. Scene 2 - Divertisment nomer pervïy!Larissa Shevchenko 2:37£0.79
Listen  9. The love for three oranges. Op.33 - Act 2. Scene 2 - Divertisment nomer vtoroy!Larissa Shevchenko 2:55£0.79
Listen10. The love for three oranges. Op.33 - Act 2. Scene 2 - Kha-kha...Kha-kha-kha...Evgeny Akimov 1:46£0.79
Listen11. The love for three oranges. Op.33 - Act 2. Scene 2 - Varvar! Slushay!Larissa Shevchenko 2:54£0.79
Listen12. The love for three oranges. Op.33 - Act 2. Scene 2 - Tri apelsina...tri apelsinaEvgeny Akimov 2:46£0.79
Listen13. The love for three oranges. Op.33 - Act 2. Scene 2 - Ti podnimayesh ruku na ottsa?Evgeny Akimov 3:32£0.79


Disc 2:

Extraits
Song TitleArtist Time Price
Listen  1. The love for three oranges. Op.33 - Act 3. Scene 1 - Farfarello! Farfarello!Vladimir Vaneev 4:55£0.79
Listen  2. The love for three oranges. Op.33 - Act 3. Scene 1 - Veter stikhEvgeny Akimov 3:57£0.79
Listen  3. The love for three oranges. Op.33 - Act 3. Scene 2 - Gde mï?Evgeny Akimov 1:53£0.79
Listen  4. The love for three oranges. Op.33 - Act 3. Scene 2 - Kto tut pishchit?Konstantin Pluzhnikov 6:00£0.79
Listen  5. The love for three oranges. Op.33 - Act 3. Scene 3 - Nu kak zhe nam idtiEvgeny Akimov 4:02£0.79
Listen  6. The love for three oranges. Op.33 - Act 3. Scene 3 - Ya Printsessa LinettaLia Shevtzova 3:10£0.79
Listen  7. The love for three oranges. Op.33 - Act 3. Scene 3 - E...Truffaldino...TruffaldinoEvgeny Akimov 3:04£0.79
Listen  8. The love for three oranges. Op.33 - Act 3. Scene 3 - Da, ya Printsessa Ninetta!Anna Netrebko 7:18Album Only
Listen  9. The love for three oranges. Op.33 - Act 3. Scene 3 - Smeraldina...s bulavkoy...Anna Netrebko 5:02£0.79
Listen10. The love for three oranges. Op.33 - Act 4. Scene 1 - Akh! Negodnaya vedmaLarissa Shevchenko 3:48£0.79
Listen11. The love for three oranges. Op.33 - Act 4. Scene 2 - Tron v poryadke?Larissa Diadkova 4:56£0.79
Listen12. The love for three oranges. Op.33 - Act 4. Scene 2 - Strazha, veryovku!Larissa Shevchenko 3:36£0.79

On this CD:
  1. (The) Love for Three Oranges
    Composed by Sergey Prokofiev
    Performed by Kirov Opera Chorus, Kirov Opera Orchestra
    with Mikhail Kit, Evgeny Akimov, Larissa Diadkova, Alexandr Morozov, Konstantin Pluzhnikov, Vassily Gerello, Vladimir Vaneev, Larissa Shevchenko, Zlata Bulycheva, Lia Shevtsova, Anna Netrebko, Grigory Karasev, Fyodor Kuznetsov, Olga Korzhenskaya, Fyodor Kuznetsov, Yuri Zhikalov
    Conducted by Valery Gergiev

Product Description

BBC Music Magazine
It's a mystery that this magical, futurist opera has been so little recorded. It may be best known for its visual imagery and stage trickery, most famously the giant princess-disgorging oranges. But it has equally a score that if not exactly rich in melody (the famous March notwithstanding) is compelling in its absurdity, originality and wit. The only other available version, Kent Nagano's 1989 account with the Opera de Lyon, though well played and decently sung, suffers from unsubtly exaggerated characterisation. It's also disadvantaged by being in French - the language in which the opera was first performed but not written - and nothing like so suited to its rhythms and inflections as guttural, consonant-rich Russian.

Recorded live at the Amsterdam Concertgebouw, this is the Kirov at its considerable best. The Love for Three Oranges is very much an ensemble piece thanks to the sheer size of the cast - 16 soloists, and a sprawling crowd of Eccentrics, Tragicals, Comicals, Lyricals etc, who interrupt and control the action like a Greek chorus - and the absence of dominant leads. And here there is a very real sense of a company at work. Even so there are star turns: the peerlessly dramatic Larissa Diadkova as the evil, manipulative Clarissa; Anna Netrebko as Ninetta; the towering bass Mikhail Kit as the King; and the plangent tenor Evgeny Akimov as the miserable Prince. Needless to say, the orchestra under Gergiev plays superbly, the score's intrinsic percussiveness precisely to the fore, but never at the expense of its lyricism.

Performance *****
Sound *****

© BBC Music Magazine 2001

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Customer Reviews

2 Reviews
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Average Customer Review
4.5 out of 5 stars (2 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

 
8 of 11 people found the following review helpful:
5.0 out of 5 stars The Kriov Sparkling at its best!, 26 Dec 2001
By A Customer
This recording of the Love for Three Oranges is the only one available in its original language and therefore is definatly worth a listen. Valery Gergiev gives yet another thrilling performance of this futuristic opera. Although there are very few recognisable tunes throughout (excluding the March and the Scherzo) this opera is an absolute masterpiece that would have Wagner proud. There is the use of letimotifs (Music used to represent a certain mood or attitude) and a great sense of characterisation in the music. This singers over exagerate their parts which is essential in this opera. Considering that this is a live recording there is very little noise from the audience.This recording will bring you hours of enjoyable listening.
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4 of 8 people found the following review helpful:
4.0 out of 5 stars Fascinatingly modern music for old tales, 11 Jan 2007
By Jacques COULARDEAU "A soul doctor, so to say" (OLLIERGUES France) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   
The plot, if we can call that a plot, is very simple. A hypochondriac prince is going to die deprived of love because his cousin wants to get the throne of his father. Then this cousin and the Prime Minister use black magic and witches to get to their ends. The comedians and other entertainers try to make the Prince laugh. They will use courage and daring to bring him to the oranges that contain white princesses. The good side will take over and complete its mission. The Prince will be saved. But there are elements that are outdated and irretrievable. One particularly. The bad witch uses a woman to lure and trap the Prince. She is a slave, black and herself some kind of voodoo witch. You read my lips. This is not the only case of racism against black people at the beginning of the twentieth century since Strauss's Rosenkavalier also has a black Moslem servant, but only a servant who does not say a word. Here the case is a lot more severe. Yet the opera that is more an operatic and ballet piece is trying to get to a higher level opposing representatives of various genres, particularly the Highbrows, the Lowbrows, the Romantics, the Empty Heads and the Eccentrics. This is a meta-approach that tries to mix various genres in the same work, tragedy and comedy, romance and entertainment. This is also typical of its age and the composer who try to look for and find new architectures in the wake of the tragic first world war and the bolshevik revolution. But what is left that can still talk to us in the plot? Not much except maybe the obvious and easy absolute power of the King corrected by fate, fortune, destiny and the architecture of the tale that turns the usurpers into escapees that will escape but to be trapped in hell. This is a metaphor of all political processes divided between power and counter-power, white magic and black magic, entertainment end seriousness, etc. The music can be considered as very good. It is also typical of Prokofiev's style. No over-skilled climbing up and down scales spread over-generously on vowels that never end being uttered and articulated. Hence a simple singing of clear words and syllables. The innovation comes from the use of one important trait. Prokofiev wants to wake up his audience, or at least to keep them awake and keep their attention on full alert for what is happening and what is being said. He uses then some very surprising intervals from one note to another, either very small, one or half a tone, if possible minor, or very big without reaching a full scale, working again on minor intervals of five notes, ending like in the previous case on a note that is not part of a chord and hence sounds awkward and attracts attention. This is very modern indeed. But is used for dramatic purposes by Prokofiev, and that is very important. It is in no way an embellishment like all the vocalizing of the old days. It is an emphasizer, a plot-thickener. Stravinsky seems to have used the same means but more for aesthetic reasons. Thus Prokofiev would not use a tritone for the only pleasure of using a discordant tritone, but to put some salt in the score, some taste in the opera. That too is the result of a complex evolution that is artistic with the desire to get out of syrupy and sticky harmonious songs, and that is more existential with the desire to transpose the horror of the first world war into the arts in general, music itself in particular. Our vision and audition of things became then forever different. After the four years of constant heavy shelling percussions could not sound the same any more.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne

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