Customer Reviews

Vaughan Williams: A Sea Symphony

5 star:		(11)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This CD marks the first new recording by the ASO Chorus since the death of their founder, Robert Shaw, in 1999, and this CD shows their skills are as polished as ever. That this CD marks one of the few recordings of this work by an American chorus makes it all the more remarkable.

A Sea Symphony, Vaughan Williams's first, is by no means an immature work (at its 1910 première, VW was nearly 40): the orchestra is on par with many of Mahler's works (an organ is recommended, though not required), and the chorus is given a much more prominent role than in most "choral symphonies" that predated it (there is only one extended section for the soloists without the chorus, at "O we can wait no longer" in the finale).

Much as they did on their Grammy-winning recording of Vaughan Williams's ~Dona nobis pacem~, the ASO and ASO Chorus play with consummate skill and beauty. The recording is splendid: the climaxes are breathtaking, and the pianissimos perfectly clear.
In particular, though, Christine Goerke's performance in what may be the most difficult solo Vaughan Williams wrote (the first movement has her sinking to the A below middle C!) is absolutely radiant, and should not be missed.

I can only hope that the ASO will get around to recording VW's third large-scale choral work, "Sancta civitas;" they won 3 Grammys for "Dona nobis pacem," and I expect this CD will earn nominations as well; this ranks with Boult's 1960s recording of A Sea Symphony and Hickox's recording of "Sancta civitas" and "Dona nobis pacem" as one of the best VW recordings ever.

There have been a number of beautiful recordings of Vaughn Williams', A Sea Symphony. However, none of them are nearly as powerful and bold as this splendid, grammy winning album. Robert Spano decides on some very quick tempi and they work very well especially in the scherzo movement where the waves crash like thunder. Goerke and Polegato, wile not that well known are very talented and moving soloists and blend quite well together while still being able to project over the orchestra. The engineering on this recording is absolutely perfect and delivers the Atlanta Symphony's masterful performance in wonderful sound. This is a wonderful recording that should not be mised by an music lover.

This is a wonderful recording. The Atlanta Symphony continues to perform splendidly---even after the death of Robert Shaw, who lead this orchestra and especially this chorus to genuine greatness. This is a lyrical captivating reading that ebbs and flows with Whitman's poetry. Robert Spano gives gives a truly fluid reading. For this listener, who is not a great Vaughan Williams fan, I remained interested for the entire work. It wears well with repeated hearings. Christine Goerke continues her stunning work with Atlanta and for Telarc. She has emerged as one of the truly unique, captivating sopranos on the world stage. The unique timbre and beauty of this voice combined with an iron-clad technique continue to amaze. Baritone Brett Polegatto is well matched to this work. His baritone has a lightness---in the best sense, and an almost tenor timbre. His is an elegant reading. Although his voice is not of the same weight and size of Goerke's, they sing artistically together and are well matched in this work. This is another great recording from Telarc. I listened to the SACD recording----and the sound is spacious and full---never harsh. Its a keeper!

This recording has much going for it, headed by Telarc's splendid sound, and definitely the best choral singing ever of this work. Spano is totally commited to it, breaking into tears at the Carnergie Hall performce I attended. Yet I would rate this #3 on my chosen list of "Sea Symphony" recordings. At #2 is Handley and the Royal Liverpool Orchestra. Yes, there are screamers in the chorus and some ensemble work is a bit ragged, but there is more excitement in the climaxes, and more flow in the introspective sections. #1 if you can find this out-of-print version is the Slatkin Philharmonia recording on RCA. Pacing, structure, flow, excitment AND a properly balanced organ make it still the champ, especially when following with the conductor's score. What RVW wrote is ALL there. No unwanted ritards like in the Haitink, no lollygagging when forward movement is demanded, and plenty of restful beauty when it is. Yes, get this album to hold you until you can find the Slatkin, then hear ALL the beautiy and power Ralph wrote!

I'll nail my colours to the mast by stating that the Sea symphony is my least favourite of Vaugham Williams nine, but I bought this (rather than wait until the Hickox came out) because wanted to see who got closest, the American reviewers who praised it to the skies (especially for sonics) or good old anglo-centric, anglo-philiac Gramophone (who gently disparaged it). Needless to say, my reaction comes about half way between the two.

The sonics have been widely praised and won a Grammy. I can understand the praise and the win, - the recording copes with every crashing wave and orchestral climax, and this is a performance which keeps 'em coming. It captures voices beautifully and for most of the time choir and orchestra are clearly and naturally presented. My only real complaint is that, especially in the first movement, I felt that the soundstage wasn't integrated, - it was as if two different orchestras and choirs were playing almost, but not quite simultaneously, left and right. Maybe my ears accommodated, because it didnt bother me after that. A more minor complaint is my usual one that there is more to most music than a contrast between loud and soft (not that the performance would indicate that) and there is less mid-range warmth than I'd like. Like the performance, the sound is a bit monochromatic.

You'll have gathered by now that I'm not rapt in the performance, though it has many good individual features. The Choir is truly excellent and the Atlanta SO yet again, virtuosic. Baritone Brett Polegato is a little light on but is warm- rather than acid- toned, as some light baritones can be. He also sings tunefully, instead of with that strangulated anal-hernia, plum-mouthed voice that english male singers tend to put on for english music.

The principal problems are with soprano Christine Goerke and Spano's overall guidance. Ms Goerke is one of that breed of soprano who would have been better born a mezzo, - she warbles uncomfortably at times and ends up hooting and braying. When she's caught in the middle-register, which, to be fair to her, is most of the time, she's very good, but when she strays outside it, her shortcomings are exposed. There is just no compariosn between her and (my own favourite in this piece) Felicity Lott (for Hairink) or Joan Rodgers (for Handley). Lott, in particular, captures the sensuality of the writing, in a way which neither Spano nor Ms. Goerke begin to realise.

And that's my main problem with Spano's direction. Yes, it is meant to be fast and furious and it certainly generates the "Wow" factor. And yes, let's face it, the symphony can be pretty boring. Spano shaves some 10 minutes off Haitink, and there are some gains in this approach in terms of excitement. The problem is, that's all you get. Like the recording's fixation on loud and soft, Mr Spano's is on fast and slow. Again, there's nothing in the middle, nor at the fringes. No subtlety, no sensuality (and surely Whitman's words call for them). This sea is all storm and movement, no sunshine or shallows. That's where Haitink is so good, at maintaining intellectual control over this sprawling canvass whilst recognising colour and variation, features which Mr Spano doesn't even attempt to find. And Handley too finds more warmth in the sea than Spano, - there's a gulf stream in his performance, whereas it's clear Spano hasn't even been to the beach in Georgia.

I guess I'm going to have to eventually get the Hickox after all, hoping that he steers a middle course, with some of Spano's drive and some of Haitink's restraint. But I will still play the Spano until then, whenever i need sails unfurled and Nelson at the helm.

What a recording! The musical imagery is uncanny: one feels the sea and hears the sea (without getting wet or sea sick, thank goodness!). This is one of the most moving classical albums I have ever heard. It prompted me to get out my headphones so I could really get inside the sound. I highly recommend this disc.

Atlanta's recording is terrific. The sound is unmatched. Each soloist, Brett Polegato and Christine Goerke seem to be given free reign to explore the untamed Sea with their talents.

The Atlanta Symphony Orchestra and Chorus both give outstanding performances of heart and soul. The piece is difficult to maneuver with the storms and gusty winds of the Scherzo, but both come out to the calm of the storm and sail into the deep waters.

I wasn't entirely converted to VW's first symphony until I heard this ecording. First of all, this is the only truly modern recording of the work, in the sense that chorus, orchestra, and soloists are caught with tremenduos impact and clarity. One can undersstand the words sung by the chorus; there is no muddiness in even the most overwhelming cimaxes--and this work has lots of them. There is transparency and power combined.

Spano helps dust off the old oratorio mustiness that many British performances suffer from. Fast tempos are actually fast, and there is no attempt to be overtly grand--reaching for the sublime has sunk many an older preformance in pomposity. Since the soloists adopt Whitman's American accent, I find that the words sound truer to the poetry than when sung with English accents.

All of this may mean little to those who are staunch believers in this sprawling, discursive work, whose musical ideas sometimes verge on the uninspired. I wasn't a believer, and yet after hearing this dynmaic, propulsive reading--but one full of sensitive detail--I count myself a fan. One of the reasons this Telarc recording has won so much acclaim in the U.S., I imagine, is that other American listeners had the same reaction.

Even the Atlanta Symphony's own web page of available recordings fails to mention this masterpiece's multiple honors (in contrast to accolades accompanying its many other listings); neither does Mr. Robert Levine's Amazon.com Editorial Review. Only a couple of other reviewers here briefly mention "Grammy." The facts are: this choral symphonic tour de force garnered no less than a whopping three Grammy awards: Best Classical Album, Best Choral Performance, and Best Engineered Album, Classical - 2003. What's up with the secrecy?

Despite being a vocalist and considering myself a connoisseur of choral music, frankly, I'm not really a fan of symphonic works that feature voices, especially those of the more grandiose variety. In this case however, Vaughan Williams created THE enormous exception--a breed apart to say the least--mellifluous, richly harmonic choral crafting done altogether RIGHT, and wedded perfectly with orchestration that colorfully creates an "oceanic" symphony so vivid, it evokes intrepid, high seas adventure, complete with the drenching spray of crashing breakers. Conceptually, this work defines the word INSPIRATION.

Everyline in the score can be heard (TELARC) did a magnificent engineering job and Atlanta has NEVER sounded better which confirms their world class distinction. The performance, SUPERB. You must have this disc. Its a sonic delight and thrilling.