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1 of 1 people found the following review helpful:
5.0 out of 5 stars
A Superb "Persephone" - the Best Choice, 18 Dec 2009
Stravinsky's "Persephone" is one of his most beautiful works, and one of his most unjustly neglected. True, stripped of its dance element, the combination of speech, song and orchestral passages can seem odd at first, particularly as Stravinsky suppressed the elaborate scenario which Andre Gide provided with his text (and which the composer used as a guide in writing the piece), no doubt rightly judging that its future was in the concert hall, if anywhere. But time and repeated listenings have convinced me that this is one a very special work, the feminine counterpart to "Oedipus Rex" (and with links to IS's other Greek myths, "Apollo" and Orpheus" as well).
It helps that "Persephone" has in recent years attracted conductors on CD such as Michael Tilson Thomas, Kent Nagano and Kurt Masur, in addition to two versions under the composer. All of these are worth hearing, and even Robert Craft's perversely rushed version (currently in limbo) has the most idiomatically Francophone tenor of all, John Aler. But in my opinion, the palm goes to this live 2003 Proms performance: it is the most persuasive performance of "Persephone" I have ever heard.
Credit goes first to Sir Andrew Davis, who (like Masur, but unlike Tilson Thomas or Nagano) takes the composer's tempo markings seriously, if not literally. He understands that contrasts between stasis and sudden movement are fundamental to "Persephone," and consequently his reading has both rhythmic vitality and weight. The BBC Symphony Orchestra and the various choirs can stand comparison with the best of other versions, and Paul Groves is a fine tenor soloist.
But Davis's trump card is the Persephone of Nicole Tibbels, the most successful of any I've heard. Not only is her French exquisite and her timing sensitive, she is the only speaker among the many who have recorded it to fully grasp and articulate the growth of the protagonist from naive girl to mature woman/goddess who, in Gide and Stravinsky's Christianized take on the myth, consciously seeks to relieve the suffering of the denizens of the Underworld. The whole weighty machinery of speaker, tenor, choruses and large orchestra finally seems justified. A fine achievement, indeed!
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