Last minute soprano sub, Albina Shagimuratova for Luba Orgonášová, for Rachmaninoff (Forum calendar updated). Stravinsky sounded good as a curtain raiser. The Bells just started 30 sec ago.
Prom 43 - 18.08.14: BBC SO, Orgonášová / Skelton / M. Petrenko / Skride / Gardner
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Always tend to feel underwhelmed by The Bells, partly perhaps because it's so darned difficult to follow the words (I was trying to follow the transliteration in the Rattle recording without much success) but more likely because I don't find the music dramatic enough for the poem it sets. Perhaps that's just Rachmaninov's way with it but it still disappoints in my view.
Now if Shostakovich had done it..."The sound is the handwriting of the conductor" - Bernard Haitink
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Originally posted by Petrushka View PostAlways tend to feel underwhelmed by The Bells, partly perhaps because it's so darned difficult to follow the words (I was trying to follow the transliteration in the Rattle recording without much success) but more likely because I don't find the music dramatic enough for the poem it sets. Perhaps that's just Rachmaninov's way with it but it still disappoints in my view.
Now if Shostakovich had done it...
Anyhow, I probably ought to listen to this Prom on the iPlayer once it's loaded up!
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Yes, agree with Makropoulos about The Bells - and wasn't it Rachmaninov's own favourite too?
Besides those Svetlanov/BBCSO and Kondrashin essentials, Ashkenazy's stunning-sounding Decca one from the Concertgebouw gives you almost as much as they do musically, in excellent sound (almost overwhelming dynamics** - engineers were sometimes kids with new digital toys back then)... especially if you can find the original CD....
The lovely coda to the finale always leaves us with questions about the true nature of...consolation...
** in a good way!!
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My least enjoyed concert of the season - hard to put a finger on why, perhaps it has something to do with the lady immediately behind me in Circle V who waited to the orchestra to appear, the leader to appear, the conductor to appear and the music to start before reaching into her large bag and rummaging around loudly for a packet of sweets to open noisily.
The 1812 left me cold - the use of choir just added more bombast to an already over-bombastic piece. The use of digital cannon was pathetic. I've been to at least one Prom where cannon were 'fired' from the Gallery, so I wonder why they couldn't replicate that this time around.
On the more positive side, it was a very well attended concert.
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Originally posted by mrbouffant View PostThe use of digital cannon was pathetic. I've been to at least one Prom where cannon were 'fired' from the Gallery, so I wonder why they couldn't replicate that this time around.
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Originally posted by makropulos View PostFunny how different our reactions are to pieces. The Bells is absolutely my favourite piece of Rachmaninov (and he's a composer I like a lot already), and I love Poe too... The problem is that there are so few really good performances - Kondrashin and Svetlanov's last concert are the only two that really get to the heart of it for me. Anyhow, I probably ought to listen to this Prom on the iPlayer once it's loaded up!
It was also fascinating to hear the discussion about the poem, Poe, and Balmont in the interval feature, where it was very salutary to be reminded that Balmont's reworking of Poe's original has precious little to do with the original. Balmont is definitely more explicit about imposing his subtext on the work, starting from "Isn't life nice?" and then going in the final movement into "Life sucks and then you die" (very grunge, that). I was reminded of the one and only time that I've heard The Bells live, which was earlier this year in Philadelphia with Vladimir Jurowski at the helm. He had an actor read the correspond Poe original section at the start, and between the movements, but the program booklet did not provide a translation of the Balmont rendering, nor were translations projected into the hall. Perhaps Jurowski's intent was to emphasize subtly the distance between Poe's original and the Balmont rendition, besides allowing one to focus on the music-making and not the specific text being sung.
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