Rossini: Complete Overtures, Volume 2 (CD review)

William Tell, Silken Ladder, Il Signor Bruschino, and more. Christian Benda, Prague Sinfonia Orchestra. Naxos 8.570934.

These days most people know Italian composer Gioacchino Rossini (1792-1868) best for his overtures, of which he wrote a slew. Here, we have the second of four discs from Christian Benda and his Prague Sinfonia Orchestra, a set that encompasses all the overtures the man wrote.

There are any number of good recordings of Rossini overtures, and Benda gives us yet another good choice. Still, as I’ve said before, one needs to consider the competition before making any hasty decisions, and we already have Neville Marriner’s complete, three-disc set from Philips, a long-gone label but one still available new and used for a reasonable (sometimes absurdly low) price. And if it’s only a single disc of the most-popular overtures you’re interested in, you can find excellent bargains from the likes of, again, Marriner (Philips, PentaTone, or EMI), the Orpheus Chamber Orchestra (DG), Fritz Reiner (RCA), Piero Gamba (Decca or JVC), Peter Maag (HDTT), Riccardo Muti (EMI), Claudio Abbado (DG), Riccardo Chailly (Decca), Carlo Maria Giulini (EMI), Sir Roger Norrington (EMI), and others.  Still, Benda’s performances stand up to the best, and the Naxos sound and price are right.

Anyway, it is Benda’s apparent decision to include a few of the most-popular Rossini overtures on each of his four discs, along with several lesser-known overtures. Accordingly, Benda begins the program on Volume 2 with the biggest gun in the Rossini arsenal, Guillaume Tell, the “William Tell” overture (you can here a snippet below). As you probably know, Rossini divided the overture into four separate sections or movements: the Prelude or Dawn; the Storm; the pastorale or “Call to the Cows”; and the famous closing galop or “March of the Swiss Soldiers.” In terms of Benda’s interpretation, I suppose you could say that three out of four ain’t bad. Dawn arrives dramatically, with appropriate atmosphere; the Storm erupts with much sound and fury; the pastorale is serenely blissful; but the galop lacks the thrills provided by any number of other conductors. The Prague Sinfonia play well enough, and there’s no denying the music has elegance. Just not quite all the excitement one may expect, closer to an analytical approach in the end. Benda’s reading appears aimed more toward the pure music lover than the Lone Ranger fan, which is not altogether a bad thing.

The other big guns on the program are the overtures to the comic operas La scala di seta (“The Silken Ladder”) and Il Signor Bruschino (“Signor Bruschino, or The Son by Chance”), which Maestro Benda handles with grace, wit, and refinement. La scala di seta displays a good deal of zip and pizzazz; it’s truly an exhilarating experience, with a light, easy step for so quick a tempo. In Signor Bruschino we find both elegance and charm, yet Benda’s performance is not without a properly playful stress on the tapping of the bows.

Then, there are the less well-known works: the overtures to  Eduardo e Cristina (“Eduardo and Cristina”), L’inganno felice (“The Happy Deception”), Demetrio e Polibio (“Demetrius and Polybius”), and Sigismondo (“Sigismondo, King of Poland”), and the very early non-overture Sinfonia di Bologna, which Rossini wrote in his teens. These overtures are from largely serious, or at least semi-serious, operas, with an emphasis on typically Italian melodrama. Thus, you can expect Benda to be pretty earnest in all of it. Nevertheless, there is a goodly portion of lyrical delight throughout the pieces. This is especially true of Eduardo e Cristina, which demonstrates Benda’s ability to convey romance and adventure effectively.

One can perhaps see why not all of Rossini’s operas and overtures gained a full measure of popularity over the years. The fact is, not all of them contain the particularly inventive touches or memorable melodies. Even so, Maestro Benda makes a good case for all of them, infusing them with an √©lan that tends to carry the day.

If there is any one drawback I could name, though, it might be that there is less than an hour of material on the disc, including the non-overture. I can’t help thinking that Naxos could probably have included all of the overtures on three discs rather than four. Nevertheless, at so affordable a price, I shouldn’t complain.

Naxos recorded the music at Kulturni dum Barikadniku, Prague, Czech Republic, in 2011 and at Produkcni dum Vzlet, Prague, in 2012. The sound they obtained is quite good, well balanced, with no undue forwardness or dullness, a well-extended treble, fine low-end definition, solid midrange clarity and definition, reasonably sharp transient response, and overall taut impact. There is also a wide stereo spread and a modest amount of orchestral depth. A small degree of soft warmth tends to make the sound easier on the ear than it would otherwise. In all, this is one of Naxos’s better-sounding discs.

To listen to a brief excerpt from this album, click here:


No comments:

Post a Comment

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

Contact Information

Readers with polite, courteous, helpful letters may send them to

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa