3 of 3 people found the following review helpful
on 25 August 2013
As I live in the UK I was very fortunate to hear the Colorado Symphony Orchestra playing live at the 4th of July celebrations while I was on holiday. Once back in the UK I was interested to see what recordings they had done and saw on Amazon they did quite a few with Marin Alsop their then music directer. In fact the very first recording they did for Naxos was a live Concert they did of Tchaikovsky's 4th Symphony and his Romeo and Juliet Overture in the Boettcher Hall, Denver in 2000. It must be difficult for any modern orchestra and conductor to perform or record any well known Tchaikovsky work with any fresh interpretation. Marin Alsop and the Colorado Symphony Orchestra capture these popular Tchaikovsky pieces beautifully and make them very entertaining to listen to.
8 of 9 people found the following review helpful
on 30 June 2004
Alsop takes a broad view of Tchaikovsky's 4th Symphony, with very well chosen speeds throughout. The first movement is full of introspection and lovely fresh sounds from the Colorado orchestra. The second movement sounds sweet, the third movement is energetic yet well controlled and the finale does not sound rushed , but very convincingly real. The digital sound is very good and if you are looking for a new, fresh view of Tchaikovsky's masterpiece, then this recording is for you.
4 of 5 people found the following review helpful
Can one tell by listening to such a popular piece as Tchaikovsky's `Romeo & Juliet' that a woman is conducting? Well it would be an interesting experiment to have been played blind three or four different interpretations. Having said that, I found Marin Alsop's `Romeo & Juliet' to possess a softer and (dare I say it?) more tender opening. But overall, the interpretation and performance are strong with no radical departure from the usual high standard that the piece demands.
The inherent drama of the piece is a useful prelude to the greater drama to come in the composer's fourth symphony. This is a live concert performance, but for some reason at times I found this performance devoid of body in the opening movement, as if those instruments carrying the theme at any one time are over-emphasised. I sensed problems too in the recapitulation of the second subject. Indeed, in the interval between the first and second movements I meditated on whether I had had what David Brown, the most respected living English commentator on the composer, says should have been a "bold, massive ... and stupendous experience."
There are no problems with the second movement; the slower pace at its end is fine. The third movement is OK too, and the finale has probably the strongest performance of all.
Overall, then, this is a very good disc but with some minor problems. However, it does not inspire me to seek out Alsop's other interpretations of Tchaikovsky's symphonic repertoire.