Adam: Giselle, highlights (CD review)

Andrew Mogrelia, Slovak Radio Symphony Orchestra. Naxos 8.572924.

Giselle ou Les Wilis, which French composer Adophe Adam (1803-1856) premiered in 1841, has been around as a staple of Romantic ballet music for over a century and a half, and for good reason. The story of Giselle has all the ingredients for great listening: a supernatural, melodramatic plot involving dead spirits and curses and such; a young hero and heroine in love; a cruel if not downright evil villainess; and an appropriately rousing yet sentimental finale. It's hard for any conductor not to be able to bring out the beauty and excitement of the score, and Andrew Morgrelia does it as well as almost anyone in this set of highlights from his complete Naxos recording.

People have made many cuts, additions, and changes to the ballet's working score over the years, so having only the highlights isn't as drastic a situation as you may imagine. In fact, the shorter score is probably best of all for home listening. At about an hour, it has not only the advantage of conciseness but of continuity, presenting the work's best and most well-known music in a seamless medley.  Besides, the highlights fit nicely on a single disc. For those requiring the full score, I can recommend Mogrelia, of course, from which this set derives; plus Fistoulari's old recording with the LSO (Mercury) and Bonynge's with the Royal Opera House, Covent Garden (Decca), all in two-disc sets. They include almost every bit of music Adam wrote for the work and additional material he didn't write, along with every possible repeat. However, I would also add that if it's only the highlights you want and you're willing to pay a little more for the very best, the folks at HDTT have remastered Jean Martinon's 1958 recording with the Paris Conservatoire Orchestre, and it benefits from not only the best performance of the music ever but the best sound as well.

Anyway, back to Mogrelia. His interpretation of the score is graceful and elegant in a smoothly Romantic manner. It's not quite as characterful as Martinon's version or the others, but at least it's close. Let's say Mogrelia's rendition is more genteel than Martinon's, Fistoulari's, or Bonynge's.

Mogrelia and his Slovak players produce a performance that sounds very balletic as opposed to one intended solely for the concert stage. That is, Mogrelia appears to be leading an actual ballet production rather than making a stereo recording. Although there is not too much in his rendering to set the blood to racing, there is a great deal of beauty and lyrical refinement involved. The Slovak Radio Symphony play with a charming ease, even if they are not always as polished as some other big-time orchestras in this work.

Naxos took the highlights for this 2012 disc from Mogrelia's complete set, recorded in the Concert Hall of Slovak Radio, Bratislava, in 1994. The sound is big, warm, round, and sometimes a little thick in a typically Naxos way, with a soft glow occasioned by the resonance of the hall. Moreover, while you also hear a kind of velvety texture to the sonics, which is pleasing and easy on the ear, there isn't a lot of orchestral depth or much dynamic punch involved, except in the first act March and a couple of other places where we find a few good bass thumps. Still, you get a wide soundstage and a feeling of sheer size, even if the midrange is a tad veiled.

JJP

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Meet the Staff

Meet the Staff
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.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa