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5.0 out of 5 stars Excellent performance of the Dvorak cello concerto by Mario Brunello
I heard the Dvorak cello concerto with Mario Brunello and the Academy of St Cecilia conducted by Antonio Pappano during John Suchet's morning programme on classic FM on the way back home from the school run and I had to stay in the car until the track was over, it was that good! I am not new to the Dvorak cello concerto, which I love, my favourite performances are by...
Published on 14 May 2013 by Mikicellist1975

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1.0 out of 5 stars A technical horror not to be recommended
I really do struggle as to where I should begin with this one. Anyway, here goes. Any artistic value that these performances may have in their favour is utterly negated by a standard of engineering that I personally find unacceptable. I’m amazed that EMI have put their name to it and wonder how on Earth Pappano and Brunello – two superb musicians – have...
Published 13 months ago by JohnW


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1.0 out of 5 stars A technical horror not to be recommended, 25 April 2014
I really do struggle as to where I should begin with this one. Anyway, here goes. Any artistic value that these performances may have in their favour is utterly negated by a standard of engineering that I personally find unacceptable. I’m amazed that EMI have put their name to it and wonder how on Earth Pappano and Brunello – two superb musicians – have sanctioned the release in the first place. It’s one of the worst recordings I've heard for some time. It's so closely recorded that every little movement of each player is captured and there's a loud sniff every few seconds along with heavy breathing. I assume this to be from the conductor. Audience noises are captured in the distance throughout the set but it’s the on-going shuffling, clicking and bumping on the stage that wears you down. Music needs to emerge from silence to have its true impact. Concentration is destroyed with background levels such as this. There’s also clearly lots of knob twiddling going on and every section sounds mixed, artificial and overdubbed. It brings to mind the worst excesses of Decca Phase Four. This is not what an orchestra sounds like. The strings have a first desk quality about them and the dynamic range is such that the climaxes sound compressed and two dimensional. The brass section doesn’t impose itself. Woodwind solos are brought forward unashamedly thus removing any natural front to back perspective. What gets to me is that Mercury were producing fabulous recordings (ditto Everest) in the late 1950s with a 3 microphone set up and here we are in 2012 faced with products such as this. I wonder if some of the engineers involved in the project are Pop music trained? Maybe EMI should sit them down and play them some of their Bishop/Parker sessions from the 1970s (Previn’s recordings, maybe) to hear what an EMI recording should sound like. They should then let them listen to the Rostropovitch recording of the Cello Concerto on DGG (still the benchmark) and the stunning Kertesz New World on Decca. Both of these recordings are very long in the tooth now but they put this latest effort to shame. The DGG is smooth and elegant. The Decca is full of detail and bite.

Having just about ruled this issue out of court because of its technical shortcomings it’s only fair to mention the standard of playing. It’s good enough for EMI to whisk the performers away and re-record the whole session again under studio conditions with a team who knows how to capture the glorious sound of a symphony orchestra. Pappano has done wonders with his orchestra and their New World interpretation is very romantic and warm. Some may find the playing to be a little too indulgent here and there but it’s all done very tastefully and tremendous care has been taken in its preparation. It would have been a joy to hear it live. The final clanger comes at the end. There is virtually no silence between the last fading chord of the symphony and the applause. The moment is ruined. Has the applause been edited in afterwards? It sounds fishy.

In the concerto, Mario Brunello’s cello is captured as part of the orchestral fabric but the stereo image shifts around all over the place. The great horn tune in the first movement is milked to death but it exactly matches the way the theme is presented by the soloist later on. It’s consistent but a bit over the top. The engineering (again) ruins the atmosphere of the slow movement which is a shame. It does a great injustice to the beautifully crafted playing of the soloist. The finale is delivered with flair but those wonderful Dvorak orchestral climaxes are not allowed to ring out properly, thus removing all the excitement. The musicians have been badly served here and deserved better. I would love to hear more of Brunello in the future. Unless you can tolerate (and “listen through”, so to speak), high levels of background noise and don’t mind being stuck in the middle of an artificial sounding orchestra this isn’t for you. Be warned!
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5.0 out of 5 stars Excellent performance of the Dvorak cello concerto by Mario Brunello, 14 May 2013
I heard the Dvorak cello concerto with Mario Brunello and the Academy of St Cecilia conducted by Antonio Pappano during John Suchet's morning programme on classic FM on the way back home from the school run and I had to stay in the car until the track was over, it was that good! I am not new to the Dvorak cello concerto, which I love, my favourite performances are by Rostropovich and Julian Lloyd-Webber. Nevertheless, Brunello's interpretation of the Dvorak is excellent, technically and artistically, it is fresh, passionate, dramatic, moving. Recommended.
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2 of 3 people found the following review helpful
5.0 out of 5 stars Must Have., 16 Dec. 2012
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OK, the New World Symphony rates as one of the greatest works of Man, so there. It's been reducing me to tears for about 40 years. I heard this recording on Classic FM, complete, as I drove home one evening and immediately ordered. The second listening has been just as moving, filling me with contentment and happiness. This is such a fresh, joyful performance, bringing such life to the wonderful wealth of glorious tunes, need I say more? Not tried the Cello Concerto yet; the Times reviewer was not impressed. No matter, the Symphony recording is so glorious.
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5.0 out of 5 stars If you love Dvorak......., 14 Dec. 2014
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Superb performance
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