Customer Reviews

Mussorgsky: Boris Godunov (Excerpts); Pictures at an Exhibition

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The "Great Performances" sobriquet certainly applies to the Philadelphia version of "Pictures at an Exhibition." Ormandy is sometimes accused of stodginess, and that was probably true of his recordings from the RCA and especially the EMI years, but here he chooses tempi that are just right, probably a little fast, in fact, for Bydlo, the lumbering ox-cart. But with virtuoso playing from low strings and the tuba player, this is not merely a valid approach but an arresting one. The balances and the color Ormandy extracts from the orchestra are enhanced by a recording that I find frankly amazing. Many fine Philadelphia performances from the mid-sixties were done in by the Columbia engineers, who provided coarse, blowsy sound. This is true, for instance of Ormandy's otherwise successful Nielsen recordings. But here the sound, while bigger than life in typical Columbia fashion, is very real in timbre, and the ambience is entirely believable as well. Percussion is very much front and center but without any impression of spotlighting. In fact, detail is admirably clear from top to bottom; this is an excellent sound recording by any standards. Certainly, Ormandy's "Pictures" can be placed alongside other classic recordings such as Reiner's, if not at the top of any short list of such recordings.

The recording of excerpts from Boris Godunov is fine as well, though not indispensable. This is really a showcase for George London's talents, and as such it is remarkable. The other soloists are fine, but this is really London's show. The well-regarded Thomas Schippers shows that he was a fine opera conductor, securing first-rate playing from the Columbia Symphony and alert and enthusiastic if not especially idiomatically Russian singing from the chorus. The sound is pretty remarkable for 1961 as well, and Sony's transfer is beyond cavil, even if they couldn't do anything to reduce the bit of tape hiss that is part and parcel of many 60s recordings.

So at Sony's mid-price, you get one of the best "Pictures" ever recorded, in sound that is unexpectedly brilliant. Add to that a very attractive selection of music from Mussorgsky's greatest opera, and you have a real deal, in my estimation.

I'm truly glad Ormandy's legendary recording has become available again. Although I will probably always listen to the original piano version of Pictures (Janis, Horowitz, Richter) more often than Ravel's adaption for orchestra, whereas Reiner's interpretation is made to impress, this I believe is the one to fall head over heels for.

Schippers's 1961 Scenes from Boris Godunov with London (most impressive as Boris), Allen, Fried and Kolk that, at least so far as the cover is concerned, seem to get top billing in this release, are really growing on me, too, by the way - so much so I almost always play the disc complete, and only occasionally Ormandy's Pictures exclusively. Compares very favourably to that famous recording of the (actually not quite) complete opera, you know, the one with Boris as Boris, I mean, the one with Christoff, Christoff and (who else?) Christoff... ;^)

Greetings from Switzerland, David.

Although far from being universally esteemed by critics, Ormandy was beloved by audiences, and this Pictures at an Exhibition shows why. The playing by the Philadelphia Orch. is incredibly plush and easy to listen to, although Ormandy's penchant for blandness keeps the music's tension down. As remastered here, the original CBS sonics do full justice to the playing--from the first Promenade one is aware that so far as execution goes, Ormandy's reading can stand up to Reiner's classic recording with the Chicago Sym. on RCA. Musically, however, Reiner is much more incisive and dramatic.

George London made headlines in the Cold War as the first American to be invited to sing the role of Boris Godunov in the Soviet Union, and these excerpts from the opera demonstrate his beautiful tone and rock-solid intonation, without a trace of wobble. London doesn't try for Boris Christoff's scenery-chewing anguish (who could hope to match that?), but in its resonance and richness, this is a treasurable recording. Schippers accompanies well enough.

This is a record on which everything works: the performances, the engineering, the programming - and, mirabile dictu, all at a bargain price.

If you do not have George London's complete 1963 recording of "Boris", these excerpts of his finest role, honed to perfection over ten years until it became one of the most affecting and spine-chilling characterisations of the tortured tsar you could ever wish to hear, form an excellent alternative. It is no surprise to learn that London was Birgit Nilsson's favourite singing partner; that magnificent bass-baritone encompasses every facet of the more complex 1872 version of Boris (in Rimsky-Korsakov's orchestration,of course - not that that matters). He fines his huge voice down for the tender moments, inflects the words with groans and cries without offending musicality and is truly frightening in his anguished delusions. (Is it too fanciful to remark that, given that London died prematurely from heart disease, there is a poignant, proleptic significance in the authenticity of London's acting of Boris' collapse and death?) The liner notes are a charming, informative and perceptive essay by London himself; I only wish space had been found for a libretto. As a performance, I certainly do not find his interpretation inferior to that of such distinguished colleagues as Christoff or Talvela.

The conducting of Thomas Schippers - another great artist whose career was cut short by his death from lung cancer aged 46 - is as vital and responsive as one could wish. The orchestral playing is sonorous and flexible. The chorus are willing if a little well-mannered and lacking Russian vibrancy - but that matters little; this is London's show, although his supporting singers are more than adequate.

As if all this were not enough, this disc also supplies perhaps what is still the finest recorded performance of Mussorgsky's "Pictures". The sonic quality is astonishing for 1966; the Columbia engineers do us proud. Ormandy works his celebrated magic with the Philadelphia Orchestra: the sound is warm, shimmering and translucent, beautifully balanced, with all the parts emerging clearly. Ormandy builds to a thunderous climax in the "Great Gate of Kiev" (which was never built!); the chimes, timpani and brass are overwhelming without losing clarity and the listener misses no detail despite the excitement. (Let me also recommend another favorite Ormandy/Philadelphia recording: the 1960 Strauss "Heldenleben" - an overwhelming version.)

In short, a disc which should be in everyone's collection.

This is the best "Pictures" performance to place side-by-side with the justifiably legendary Reiner/Chicago account on RCA. While Reiner's is incisively brilliant and dramatic, the Ormandy is more relaxed and voluptuous-sounding. This is not to say that it's in any way slow or lacking in dramatic tension (as Ormandy's later recordings on RCA could be); it's simply a different approach to the music. A warmer and more sumptuous approach that has a different feel to it than Reiner's "take no prisoners" performance. One might say that it's a little less stunning and a little more voluptuous.

The recording captures the "Philadelphia Sound," including the nonpareil string section, to perfection, and all sections of the orchestra play wonderfully and in perfect balance.

I own many versions of this music, but this (CBS/Sony) Ormandy recording is one I wouldn't be without.

I have searching for some time for the Schippers abridged version of Boris Godunov since its early recording on vinyl. Happily the search is over with this magnificent remastering of George London's lead in this great recording. His voice is beautiful. By the way, the Pictures at an exhibition is pretty damn good as well! Kudos to Sony for issuing this excellent recording.

Ormandy made a wonderful recording of Tchaikovsky's 1812 Overture in the mid 1960s. I first heard that performance in the mid 1970s. For me, it was the perfect classical storm. All the ingredients were there: a top notch orchestra in great form, one of our nation's best conductors who was at home with the music, recording engineers who knew what they were doing, and playback on a component quality stereo. The sound sparkled and dazzled me. All I could say was "WOW" and "play it again" and "crank up the volume!" I went out and made that recording my first classical purchase.

This Mussorgsky Pictures brought me back to the mid 70s and listening to the 1812 for the first time. It too has tremendous WOW! Equally dazzling is Ormandy's recording of Mussorgsky's Night On Bare Mountain to be found on his Berlioz Symphonie Fantastique CD.

There was time that I owned around 4,000 LP's (pop, rock, some Broadway cast LP's) and a mere ONE classical LP. And it was "Pictures..." by the Philadelphia Orchestra conducted by Eugene Ormandy on Columbia Records. Such was my fairly limited knowledge and appreciation of classical music at that time in my youth. In the years since then I have built up my classical CD library considerably but "Pictures..." remains my #1 favorite classical work to this day.

After owning about a dozen different versions of "Pictures" on CD and recently buying from Amazon this newly reissued version from Sony (coupled with excerpts from "Boris Godunov") I still must say that this it still the best version I've heard...although I would have to say that it rates neck-and-neck with the RCA Red Seal version with the Chicago Symphony Orchestra conducted by Fritz Reiner in terms of performance. The Chicago/Fritz Reiner is, however, a tad better sonically in the latest RCA Red Seal mastered SACD version. These two, though, are my absolute favorite performances.

If you are new to "Pictures At An Exhibition" or simply want to see which good versions are out there on CD, I heartily recommend both of these.