Customer Reviews

Prokofiev: Peter And the Wolf / March In B Flat Major / Overture On Hebrew Themes / Classical Symphony

5 star:		(8)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

(My original review, from 2000)

Picture this: It's family vacation time. You're in the car, 500 miles to go, kids are screaming "Are we there yet?", and you aren't lucky enough to own a car TV/DVD. You want to keep them occupied, but listening to "Barney Sing-alongs" one more time will make you go postal.

THIS IS THE CURE!

Sergei Prokofiev composed this piece to introduce young people to the symphony. Though Disney did animate the piece several decades ago, it still works best as an audio-only experience -- one that forces the child to be quiet, and listen closely so that the story can unfold within the boundless realms of their rich imaginations.

If you know the story, each of the characters are portrayed by instruments of the orchestra (Bird=flute, cat=clarinet, duck=oboe). Sting enhances and brings fresh perspective to this tale, adding vocal characterizations that make it more than just a narrative -- it is more of a one-man dramatic reading with Sting playing all the parts. (Sting actually rehearsed for the part by playing many versions of previous recordings, and noting how his own chidren reacted). The music serves as score/soundtrack to this dramatic reading, making it a wonderful listening experience to share with children.

My own daughter (age four) likes to act out many of the scenes herself as she listens, and often runs for protection into the safety of my arms when the wolf appears.

Buy this, and years from now when you and your children have grown older, like Chistmas Eve's, and Thanksgiving Dinner's, you will each recall with much joy, the quality time you spent together experiencing this timeless classic.

PS - It's now 2006, and my 4 year old is now 10, but true to my predictions we read this review together and she nodded in agreement...it's an experience she already treasures, and one we've introduced her younger sister to.

This rendition of Peter and the Wolf is lots of fun. Sting uses different voices for each character, but I only wish we heard more from the duck (his best). As a Police fan of old, I get a kick out of hearing Sting's very proper British accent. The music is likewise wonderful, and my children enjoy chasing each other around the house playing and singing the different animals. The only complaint I have is that the range of dynamics is too broad. If you play it loud enough to hear the narration, the bird (flute), and cat (clarinet) clearly, then the wolf (horn section) is too loud for comfort. When I listen in the car, I have to keep my hand near the volume dial. Still, the overall quality of this recording is excellent, and I highly recommend it.

Sting, the former singer of one of Rocks most successsful groups The Police, joined the Chamber Orchestra of Europe under Claudio Abbado to narrate this long-time children's classic. Being a former elementary teacher and father of four, Sting is able to tell the story in a gripping and convincing way. This is a great CD, not only for children, but also for their Sting-loving parents. P.S.: In 1985 Sting also recorded the song Russians, which is based on another Prokofiev melody from Lieutenant Kije.

Though at times overshadowed by fellow Russian-born composers Stravinsky, Shostakovich, and Rachmaninoff when it comes to 20th century music, Sergei Prokofiev demonstrated that he had a place in the music of that war-riddled century. This can be clearly demonstrated on this recording by Claudio Abbado and the Chamber Orchestra of Europe of four of this composer's works, two of which have always held permanent places in the repertoire.

Both the Overture On Hebrew Themes and the March In B Flat are shorter works, with the overture being the product of Prokofiev's association with fellow Russians in New York who introduced him to Jewish tunes, and the March seeming to be a concession to that great sage of Iron Curtain political correctness, Joseph Stalin. But while they are shorter pieces, and thus overshadowed by the other two works on the CD, they are fine examples of Prokofiev's experimental style and his ability to conform (whenever possible) with the desires of the Soviet state.

Of course "Peter And The Wolf" has held a place in many people's hearts because it was a work that exposed children to classical music for the first time via its story of a young boy who takes it upon himself to hunt for a dangerous wolf. Each character is represented by different instruments (or groups thereof) in the orchestra, while a narrator (in this case, former Police frontman Sting) depicts the proceedings through the medium of the spoken word.

Then there's the composer's crisp Symphony No. 1, the "Classical Symphony", so-called because Prokofiev wanted to see if he could create a 20th century symphony that utilized the capacities found in the late 18th century symphonies of Haydn and Mozart. He succeeded beyond his wildest dreams, as the symphony became one of the most popular of its type and its century.

Abbado and the Chamber Orchestra of Europe bring Prokofiev's four creations to vivid life, with Sting's narration of "Peter And The Wolf" being very lively (and matching his fellow Brit David Bowie's 1977 narration of the work with Eugene Ormandy and the Philadelphia Orchestra). The March and the Hebrew Themes overture are handled with a not insubstantial amount of wit, and the interpretation here of the Classical Symphony matches three other interpretations in my collection (Previn's L.A. Philharmonic recording of 1986; Gerard Schwarz's L.A. Chamber Orchestra recording of 1980; and Bernstein's 1968 version with his New York Philharmonic). Very highly recommended.

Growing up with the 1963 DG recording of Peter and the Wolf performed by the French National Orchestra and narrated by Alec Clunes soured me on this rendition. I would say, however, that all of the performances without Sting's over-the-top narration are fabulous. The performance of the music in the story portion was on the same level as that in the older recording, but with a sound that suggested a lot of post-production level mixing (which is a bit of a turn-off in classical.) It was Sting's rewording and overacting that really killed the story portion of this album.

This album is excellent for many reasons, but the main one is Abbado's outstanding interpretation of Prokofiev's 1st symphony.

My headline doesn't mean that kids don't deserve the best music-making, but what Abbado accomplishes here is first-rate, and one is reminded that Prokofiev's charming score to Peter and the Wolf has a dimension adults can appreciate. Aided by a vivid, vibrant recording, this is a great romp. Sting, an eager, uninhibited narrator, uses considerable skill to turn the simple story into a gripping yarn. His Cockney animals are the funniest, but he has a surprisingly wide theatrical range. (Is there an Englishman who can't act?) But it's Abbado's astonishing skill with the score that captured my deepest admiration.

Nor are the fillers kid's stuff. The March Op. 99 is a lollipop one rarely hears. The 'Classical" Sym. is far from rare, and it takes a unique interpretation to make me sit up. Abbado's isn't that, but he finds plenty of precision, elegance and brio in the score, and once more DG's recorded sound is excellent. More characterful is his slinky reading of the Overture on Hebrew Themes, taken at a brisker pace than usual, much to the music's advantage.

Altogether an invigorating, joyful CD that I would never have found if I hadn't been cruising for a different Sting record entirely.

There's no doubt about the (probably purely) commercial intent behind this disc, but I advise no one to turn it down for that reason. Sting is a jovial, affable storyteller and a good actor, and I presume that his approach will appeal to the children for which Peter and the Wolf was (arguably) composed. The storytelling is indeed full of character and - almost too much - acting out the various roles; but he can also conjure up tensions and sustain the nerve of the story. Importantly, the producers have fortunately not given in to any temptation to "update" the text or storyline. Given the superbly nuanced, spirited and technically brilliant playing of the Chamber Orchestra of Europe under Abbado's surefooted direction, this must in fact be said to be one of the best accounts of Peter and the Wolf around.

I am not equally sure about all the other works, however. The Classical Symphony is excellently played, full of detail and textural excitement, but I find the first movement too measured. Granted, my favorite is the exhilarating Ancerl version, and that is far away out on the fast side of the spectrum, but I cannot help but feel that this Abbado one is somewhat dragging. In the other movement, the performance certainly picks up speed, almost too much so; the movements are more or less as fast as those of Ancerl, but as opposed to the latter, Abbado's approach seems almost a little rushed here;no fault of the COE, though, whose playing is consistently impressive. The little March is a memorable little rarity, well worth hearing.

The Overture on Hebrew Themes also receives a strikingly rounded, almost mellow performance - of course, this is a rather obvious consequence when comparing this version to the original one for clarinet, string quartet and piano, and I don't really mind. Sound quality is excellent, and overall this disc is thoroughly recommendable. I won't award more than four stars to the approach to the Classical Symphony, despite the brilliant playing, but the rest is impeccable.

I like how this story talks about Peter and the Wolf with words and after they say the words, it's just music. There is one song at the beginning that doesn't have any words at all and about four songs at the end that don't have words at all, either. I like how they explain the characters and the instruments that play them.

Yes, I know that it's virtually impossible to interpret Peter and the Wolf in a way that isn't fun. But there's something very special about the way Abbado looks at the work. I've heard several interpretations of the work (including Bernstein and Ormandy) but never has this popular children's tale come to life in such a vivid way that is undeniably brilliant. And Abbado seems just as inspired in the other works on this disc as well, particularly the Classical symphony, where the jollity brought over from Peter and the Wolf doesn't hurt at all.

DG got Sting to do the narration on Peter and the Wolf. Perhaps this was done more for marketing reasons than anything else, but either way, he's done a fine job. Sting consistently sounds like he's having fun and his engagement his irresistible. Everything is a bit more dramatized than usual, resulting in plenty of hilarity throughout, particularly with the grandfather--you'll have to laugh. But I think the real prize goes to Abbado who accompanies Sting with a real intensity that makes the work much more dramatic than I've ever heard it before. Once again, you just can't go wrong with him.

Moving on to the Classical Symphony, Abbado seems every bit as interesting, perhaps more so. While Prokofiev attempted to imitate the Classical period composers in this work, it's with a real sense of humor. Abbado sees this and makes the work overflow with dashing excitement. The Chamber Orchestra of Europe picks up on every nuance, making the work seem entirely unburdened. I certainly don't think anything is missing.

The other works on this disc, the March and Overture on Hebrew Themes, come off with plenty of their own charm. Everything good I had to say about the preceding works can be said about this too.

In closing, this is a fine album full of dashing good spirits. If you like giving yourself treats, you should buy this album.