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TOP 50 REVIEWERon 10 March 2011
Gustavo Dudamel and the Simón Bolívar Orchestra - the "Youth" bit now discreetly dropped as time has gone by - have already recorded Tchaikovsky's Fifth Symphony with DG and generally created quite a stir with their raw energy and marketability. They continue their series here with three Shakespeare-inspired works: "Hamlet", "The Tempest" and the "Romeo and Juliet Fantasy Overture".

The disc turns out to be a real oddity; there are two orchestras and two conductors here. The first combination makes a valuable contribution to the Tchaikovsky discography with powerful, assured interpretations of two relatively neglected symphonic fantasies: "Hamlet" and "The Tempest". The second delivers a thunderously ponderous account of the famous "Romeo and Juliet".

Dudamel's "Hamlet" cannot rival the grip and urgency of Stokowski's celebrated account (coupled with the even more stunning performance of a "Francesca da Rimini" which should be in every Tchaikovskian's collection) nor is the Simón Bolívar Orchestra anywhere near as virtuosic as Stokowski's "Stadium Symphony Orchestra" (the New York Philharmonic incognito) but they create an atmosphere of grim concentration - lento lugubre, indeed - which perhaps reflects the turmoil and melancholy of the composer's own temperament. There is certainly no danger here of the sentimentality some conductors indulge in - in fact a little more overt emotionalism would be welcome - and we do not hear the depth of singing tone in the strings or the subtle gradation of dynamics that Stokowski secures - but there is a good deal more grandeur and sense of shape and momentum than in the subsequent "Romeo and Juliet". Indeed, Dudamel captures much of the tragic intensity this piece demands, although the plaintive oboe theme representing Ophelia is coolly played and the love theme music itself remains slightly four-square, lacking the fantasy of the love music heard in Romeo and Juliet" and "Francesca da Rimini". Perhaps that is more Tchaikovsky's, not Dudamel's, fault, however.

"The Tempest", the earliest tone poem here, displays the musical influences the composer had experienced since he composed "The Storm" in 1864; we are now in the sound-world of "The Ring" and all the better for it. The opening combines a heroic, Wagnerian horn theme with a gradual crescendo betraying the influence of "Das Rheingold". We hear storms at sea, a depiction of Caliban and a strangely swooning, Hollywood-movie-style love theme on the strings for Miranda and Ferdinand. The opening lacks somewhat of the sense of mystery which more lightnes and legato in the strings would create but there is a haunting quality to the insistent, ostinato figure high on the violins reminiscent of Bruckner. Even a good performance played with energy such as we have here cannot prevent the piece from sounding a little too long, formless and episodic.

After two such engaging and thoughtful accounts, the "Romeo and Juliet" comes as a let-down. David Hurwitz was vitriolic about this release in his recent review on the Classics Today website, excoriating Dudamel's "droopy" tempi and "flaccid" rhythms and condemning the fight sequences as "about as dull as any yet recorded" and the love music as "remarkably under-characterized". I tend to take many, if not most, of his pronouncements with a big pinch of NaCl, yet he is in this instance right - at least about the "Romeo and Juliet", if not the other two tracks. Barely a trace emerges of the febrile eroticism which should suffuse the work; the rhythmic pulse constantly stalls. The whole enterprise is fatally hobbled by Dudamel's lugubrious tempi and a deliberateness which robs the music of all spontaneity.

The opening should drip tension, underlined by edgy, nervy litle marcato accents on each note to suggest impending doom, but Dudamel takes almost 7 minutes to reach the battle when it should take about 5. Phrases are accent-free and smoothed over; the effect is soporific. One has only to compare Dudamel's plodding pizzicato with that of Adrian Leaper and the RPO twenty years earlier on Naxos, a performance which positively sizzles with energy. The requisite brilliance in the swirling, scurrying string passages is missing because the Simón Bolívar strings cannot articulate with sufficient clarity, speed and snap. When the violas wheezed in to the famous - here, long-delayed - love theme like a band of superannuated bagpipes, I found my patience exhausted. This music is simply not played with the verve we expect from a celebrated youth orchestra. There is no ecstasy, no exaltation - just notes. A real dud.

The sound is a bit muddy and soft-edged: the drums thud soggily, the brass is too recessed and everything is a little muffled for a modern, digital, state-of-the-art DG recording. This dics is a real mixed bag which will, for some, be hopelessly compromised by the performance of the best-known item but might still to others be desirable for the accounts of the lesser-known music.
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on 10 March 2011
It would make a difference if this depressing CD were the brain child of an R and R man at DG, someone trying to fill a hole in the catalog. But one can never have too few versions of Tchaikovsky's ambitious flop, "Hamlet," and in a perfect world anyone who became intrigued by it could listen to Stokowski's suitably bombastic assault on Everest (or the more obscure Bernstein from New York on Sony, which is better played) and forget the matter ever after. This is music of truly Lisztian emptiness and posturing, riddled with banal themes and empty rhetoric. Dudamel seems to feel that being as sensitive to the score as possible will bring out hidden depths, but what can you do with dross? Wikipedia informs us that Tchaikovsky wrote this 18-minute overture-fantasy (a term of his own invention that is basically the same as a Liszt tone poem) in 1888 as he was orchestrating the Fifth Symphony.

The score doesn't depict any action in the play, or even the principal characters, but evokes its moods. There's a completely unmemorable love theme, and in the middle a gentle oboe solo brings Ophelia to mind. The rest is generically gloomy. the secret to bringing off trite music is to play it with total conviction, as Bernstein and Stokowski did, but Dudamel's surprising reticence only reminds us of how right Tchaikovsky's perpetual doubts could sometimes be. Sad to say, the next item in this Shakespeare-themed album is equally forgettable, The Tempest, a tone poem dating from 1873, fifteen years before Hamlet. The music evokes the stillness of the sea, the storm that follows, the wild nature of Caliban, and the love between Ferdinand and Miranda on Prospero's magical isle. Not that the program matters given the second-rateness of the music, which at least doesn't flaunt its emptiness.

Which brings us to the only success that Tchaikovsky actually had with Shakespeare as his inspiration, the ubiquitous Romeo and Juliet, a score so popular that it plays itself. Or so I thought until I heard Dudamel fuss over the opening with intrusive pauses, slack rhythms, and a general air of strained sensitivity. What in the world went wrong? The meteoric rise of this conductor was based on his charisma and fiery passion, yet here is a reading that evokes none of those qualities. He also takes 22 min. to perform the work, dragging in slower than Masur and Barenboim, who aren't exactly fireballs. Even the tempestuous middle section is seriously underplayed. Finally, since my copy is a download, I don't know how the Simon Bolivar Youth Orchestra morphed into the Simon Bolivar Symphony Orchestra, but it is the same group as before, with the same youthful personnel. ?they play well but not spectacularly, which can also be said of DG's sound.
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on 14 March 2011
Tcahikovsky's three tone poems (actually fantasie overtures) programmed for this CD may not include the composers best work (many would place 'Francesca da Rimini', 'The Voyevode', 'The Storm' and 'Fatum' as more solid works), but the concept of marrying Shakespeare with Tchaikovsky in one program is a novel and very valid one. Gustavo Dudamel appears to have an affinity for Tchaikovsky's music and it shows in this recording. At a recent Los Angeles Philharmonic concert Dudamel programmed these three works with actors offering excerpts from the three plays (Orlando Bloom as Romeo with Anika Noni Rose as Juliet, Malcolm McDowell as Prospero/Prince/Ghost of Hamlet's father and Matthew Rhys as Hamlet) creating a nonstop survey of the Shakespeare experience and the result was overwhelmingly successful.

In this recording Dudamel stands before another of his orchestras - the Simón Bolívar Symphony Orchestra - and the while the overall performances are solid, there is a lack of depth in the sound of the orchestra and Dudamel does not offer the degree of passion that comes with repeated performances. That is not to say that this recording is not a fine one: the pleasure of hearing three Shakespeare inspired musical works by one composer is reason enough to add this recording to the collection. The 'Hamlet' succeeds on its limited grounds, the 'Tempest' is the most interesting to hear, and the Romeo and Juliet has a fine sweep with good attention to detail. The Simón Bolívar Symphony Orchestra plays with commitment to their conductor and despite some flaws in the sonics of the album this is a worthy performance. The five stars are for the concept - and for where the conductor is at the present with this interesting repertoire. Grady Harp, March 11
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