Clio Gould, solo violin; Nicolae Moldoveanu, Royal Philharmonic Orchestra. RPO 026 (2-disc set).
According to most authorities, in 1875 Petrovich Begiche, director of the Moscow Imperial Theaters, commissioned Peter Tchaikovsky (1840-93) to write the score for the ballet we now know as Swan Lake. Premiered in 1877, it was the first of the composer's big three ballets, with The Nutcracker and Sleeping Beauty following some years later. Today, we take for granted that Swan Lake is one of the greatest of all ballets, possibly THE greatest, but initially it was a flop. The dancers complained they couldn't dance to the music, the conductor couldn't properly handle the tunes, and critics generally panned it. It would not be until 1895, several years after the composer's death, that the ballet's popularity would begin to soar in a revival, and it is this revised score upon which the producers of the present CD set based their recording. In any case, it is good to have another performance of the complete ballet in so energetic an interpretation and in such robust sound.
The story behind Swan Lake purportedly began as a little ballet called The Lake of the Swans that Tchaikovsky wrote for his family in 1871. Then, when he received the commission, Tchaikovsky added Russian and German folk tales for his sources, the general plot based on a story by the German author Johann Karl August Musäus. One of the salient points about Tchaikovsky writing it is that critics now consider it the first ballet composed by a writer who had previously worked almost exclusively in the symphonic field. Thus, if Swan Lake sounds more "symphonic" in structure, composition, and themes than earlier ballets, there is a reason.
Swan Lake tells in four acts the story of a young man, Prince Siegfried, whose mother insists that it's about time he find a bride and marry. No sooner said than he chances upon a beautiful young woman, Odette, with whom he falls in love. However, as fate would have it, an evil magician has put her and her attendants under a spell whereby they may be human at night but turn into swans by day. Naturally, it is only a true and unfailing love that can save her. Ain't it always the way?
Romanian conductor Nicolae Moldoveanu is gentle and lyrical when necessary at times and just as melodramatic and histrionic as you'd expect at other times. Moldoveanu maintains zippy rhythms throughout, building a good deal of excitement while displaying a firm control of the ballet's poetic sequences, especially the waltzes. However, as delightful and impassioned as the maestro and his Royal Philharmonic players are, they never quite match the stylish polish of Andre Previn and the LSO (EMI) or the smooth refinement of Charles Dutoit and the Montreal Symphony in their complete and competing sets, or the outright glamour and class of Anatole Fistoulari and the Concertgebouw (Australian Decca) in their disc of highlights.
Interestingly, Dutoit is currently the Music Director of the Royal Philharmonic, so he probably handed off the conducting duties in Swan Lake to Moldoveanu because he had already recorded it and didn't feel the need to compete with himself. In any case, Moldoveanu's performance is strong, sturdy, and theatrical. If it loses a little something in the svelte or cultured departments compared to its competitors, it makes up for it in power and presence.
Recorded in 2009 at the RPO's home, Cadogan Hall, the sound is remarkably dynamic, with plenty of impact at every turn and a big bass drum that dominates many of the scenes. Indeed, it is the drum that may delight some audiophiles yet infuriate some music lovers (or vice versa). The drum adds to the overall realism of the recording but can also be a little distracting. Otherwise, we get a warm, ambient acoustic, a reasonably transparent midrange (with some glorious trumpets), a wide stereo spread, and a modestly extended stage depth.
This new Swan Lake makes a welcome addition to a small and exclusive group of recordings that fully illuminate the ballet's score.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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