Customer Reviews

Tchaikovsky: 1812 Overture / Romeo & Juliet / March Slave (CBS Great Performances)

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

 

 

deffinately worth listining to again and again. I would tell anyone who is considering it to bite the bullet and go for it!

This recording is a part of the old Great Performances series on the CBS label. The performance of the 1812 Overture and Marche Slav may have been critically acclaimed but the recording is not up to today's standards. I think it suffers from remixing. The recording fails to rise to the vibrant and victorious level one expects of the 1812 and the march misses where it should suceed. Romeo and Juliet on the other hand is quite enjoyable, especially the finale. If you bought this recording only for the last, you would be happy. You can look elsewhere for the first two works.

There's no question that Leonard Bernstein loved the music of Peter Tchaikovsky (1840-1893). This is quite apparent in these historic 1957 stereophonic recordings of three very familiar Tchaikovsky masterpieces, made with the New York Philharmonic only a year before Bernstein became the orchestra's music director.

Columbia began stereophonic recording in 1957, the same year that a small label named Audio Fidelity began releasing the first modern stereo LPs; the following year Columbia joined RCA Victor and other major companies in releasing stereo discs.

Taking a page from Mercury's "Living Presence" recording of the "1812 Overture," Columbia also recorded a spectacular high fidelity version of the "potboiler" that Tchaikovsky sometimes detested as just another "noisy" work written for a ceremonial occasion. So, cannons and bells were added to the musical score, following the exact indications in Tchaikovsky's score. It is a fun performance, not to be taken too seriously and simply to be enjoyed.

The "Romeo and Juliet" overture fantasia captures the high points of Shakespeare's tragedy with memorable melodies that are wonderfully played by the New York Philharmonic. All of the emotions are here in a performance that is wonderful because Bernstein captures all of the nuances of Tchaikovsky's score. The famous love theme, often quoted or excerpted, has seldom been played with so much emotion. The "fight" music is played with fierce, almost exhausting intensity, with cymbals clearly representing the clash of swords. The final tragic moments, depicting the death of the the lovers and even the presence of the friar who had married them, are particularly poignant, culminating with the powerful coda with its powerful drum rolls.

"Marche Slave," which actually means "Slavic March," was another ceremonial work, commemorating a minor war in which Russia played a part. Like the "1812 Overture," there are quotes from familiar patriotic songs and even the Russian national anthem. Bernstein's recording may have a few goofs here and there, but the youthful exuberance that he showed in surviving filmed performances from about the same time show that he gave everything he had. There is clearly excitment and joy in the performance. Bernstein even uses the optional repeat in the coda that was often omitted in many other performances of the work.

The youthful Bernstein, who became familiar to millions through his television appearances on "Omnibus" and "Young People's Concerts" on CBS, had an amazing energy when he conducted. He was given to leaping in the air and bold gestures as he inspired the Philharmonic musicians to play with their hearts. There were, of course, those who deplored Bernstein's apparent theatrics, but it's clear that he produced some of the most exciting recordings ever made. This wonderful collaboration would continue regularly until 1969, when Bernstein resigned as music director and only guest conducted the Philharmonic and other orchestras for the rest of his life.

Not quite like a fine wine, the CBS recordings of Tchaikovsky's "1812 Oveture, Marche Slave, and Romeo & Juliet" are reflections of the energy and enthusiasm that Leonard Bernstein gave his orchestras, audience and I'm certain, himself for every performance he gave as a conducter.

The audio quality is lacking due to the age of the recordings and the apparent need of remastering, but even with these limitations, the "1812 Overture" still is thrilling and pleasantly bombastic.

"Marche Slave", thrums with a steady tromping rhythm and should be used by music professors for their Conducting students to study meter, tempo and repetitive interpretation.

"Romeo & Juliet" flows with life and power, every musical scene casts the images of Shakespeare's tragedy in our minds. The balcony set love theme, Paris and Romeo's final battle is exploding with drama and tension, and the final mournful motif of the deaths of our two tragic heroes, each draw our hearts into the rage, passion and dispair that is thrust upon us by the brilliant Maestro.

The material is glorious. The sound quality is lacking. If it is possible to find these recordings on a remastered album, I encourage you to pick it up. But if you don't mind a bit of that worn LP type of sound, I highly encourage you to pick this album up.

i love this recording of romeo and juliet overture because it moves along at a good speed. most of the other recordings of romeo and juliet have taken it far too slowly for my tastes.

deffinately worth listining to again and again. I would tell anyone who is considering it to bite the bullet and go for it!

I thought the 1812 was okay, due to having the mercury recording one which is my favourite so far - real cannons! I liked the Marche Slave since it was the first time I ever heard it. The Romeo and Juliet is good but a bit too slow for me. I like my classical loud and fast! Overall I wasn't too impressed with this recording. If you love Berstein, which my sister does, then you will probably like this. If you want the best, keep looking.

The 1812 is really ordinary. No emotions in the piece...and the CANON...YUCK, it's just like someone bang the Timpani with the largest power...which is meaningless. And the Romeo, is disgusting. There are many errors with the percussions. Which are disgusting, they bang it without a note in the score.

If you buy it, you will be regret!

I recommend to get the Metha, for the same pieces. Three of them.