Customer Reviews

Stravinsky: Le Sacre du printemps (Rite of Spring) / The Firebird / Jeu de cartes / Petrouchka / Pulcinella

5 star:		(7)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This magnificient two CD set contains some of Abbado's finest recordings with the London Symphony Orchestra. His great interpretations of Stravinsky's scores can easily hold their own against those from the likes of Bernstein, Boulez, Haitink, and more recent interpreters such as Gergiev. His "Le Scare du printemps" is one of the most dramatic recordings I've heard, replete with tense, vibrant playing from the London Symphony Orchestra. It is a visceral, emotionally raw account pulsating with energy. Equally noteworthy is his splendid interpretation of "L'Oiseau de feu", which is a brisk, dramatic performance. Both "Jeu de cartes" and the entire score of "Pulcinella" are very pleasant surprises too. My only slight criticism is Abbado's interpretation of "Petrouchka" which doesn't sound as dramatic as Haitink's with the London Philharmonic. The sound quality on these image bit digitally remastered CDs is absolutely stunning; it sounds as good as contemporary recordings.

How we miss Abbado in the LSO, he had a great rapport with the orchestra and it shows in these sensational CD's from the 70's and early 80's. His understanding of Stravinsky and his wizard-like handling of colours and textures have not been equalled. On top of it, there is the goddess Teresa Berganza in Pulcinella. Go and buy this set!.

Abbado thrived in London in the Seventies and early Eighties with the LSO, and their collaboration produced some of his most vigorous performances. These Stravinsky ballets are among them. (I can't agree with David Hurwitz that Abbado never got better--he reached an inspired apex in his last years with the Berlin Phil.) DG's bargain two-fer features dynamic, in-your-face sonics, especially in Le Sacre. Admittdly, there are passing moments when Abbado, as was his wont, turns a bit tame and cautious, but the overall impression is of a brash, propulsive Le Sacre. The Firebird Suite is the only item that's seriously underplayed.

Petrushka gets another vivid recording and lots of commitment from the LSo; it also finds Abbado at his most involved. But for me the main attraction isn't the most familiar works but Abbado's complete Pulcinella and the Balanchine-commissioned Jeu de Carte (Hurwitz mistakenly calls Jeu a late work. With Stravinsky, late means 1950-71, not 1937, when this ballet was premiered). Abbado's approach is classical and balanced, but there's a good deal of inner life, which Stravinsky's 'white' ballets (i.e., ballets without a story) desperately needs if it's to connect with a concert audience.

I especially like the Pulcinella, which is an oddly difficult work to bring off. Abbado plays it lightly, with refined textures and attacks that aren't as dry and sharp as we usually expect, articularly from the composer himself. Purists may find Abbado too mellifluous, but he's never rough and vulgar. He's lucky in his prestige vocalists (Berganza, Shirley-Quirk, and Davies), who struggle just a bit in songs that often defeat lessert singers.

All in all, there's stiff competition in these pieces, but Abbado gives ue the best omnium gatherum of all five.

I'm a 'Rite' fan, and, as such, have listened to many many versions. This is without a doubt the best I've heard. Abado brings the intense emotions of the piece out, be they savage paganism, mystical grandeur or brooding angst. Stravinsky is a genius. I'd recommend this to everyone.

This is a great Firebird. Abbado, among many othe things to dmire, has the strings playing sul ponto in the last section rght before the french horn solo. He gets all these overtones from the violins: it sounds like a some ghostkt chorus on top of the orchestra. Amazing performance

A great performance by Abbado and the orchestra, even though the sound of the recording is not as good as the performance, except for Pétroushka. Still, I recomend this CD if you are interested in Stravinsky

I found this disc to be a delightful combination of Stravinsky pieces. Perfect for spring and the Easter season.

Bueno, mi comentario es solamente de Petrushka (Lo tengo en un disco suelto, como originalmente salió al mercado).

Abbado desde el primer acorde del Ballet nos sumerge a un mundo sonoro cálido y lleno de detalles exquisitos, exponiendo la partitura de Stravinsky con toda su belleza. Abbado hace un manejo de balances perfecto, apoyado por excelentes instrumentistas de la London Symphony Orchestra. Utiliza la versión de 1911 que en ciertos pasajes se forman dentro de la orquesta, conjuntos de cámara, en forma más delicada que en la versión revisada de 1947.

Esta versión junto con la de Boulez con la New York Philharmonic (Sony), no confundir con la posterior en Deutsche Grammophon y la orquesta de Cleveland, son mis favoritas de la partitura original (1911). Para la versión revisada (1947), recomiendo Antal Dorati en Mercury.