Based on Shakespeare’s most famous romantic play, Prokofiev’s realisation of Romeo and Juliet as a full-length narrative ballet was audacious in its day. It was written during a period of artistic turmoil under a Soviet regime in which arguments raged over such fundamental aspects as the choice between a happy or a tragic ending. Famous movements such as the Dance of the Knights have helped maintain Romeo and Juliet as Prokofiev’s bestloved stage work. Marin Alsop’s acclaimed cycle of Prokofiev’s Symphonies has been described as ‘an outstanding achievement’ by BBC Music Magazine.
Ernest Ansermet was in the peak of his directorial power in this decade. The real effort to guide and elevate the Suisse Romande to the most famous swiss orchestra ever was made for this admirable and not yet recognized conductor. Ansermet had a special rapport for the Russian composers. In this recording we have the presence of the virtuosi violinist Ruggiero Ricci characterized with a cold temperament but gifted with a steel sound extremely adequate for this works, giving his best musical achievement of his brilliant career with both Prokoviev violin concertos.
Lorin Varencove Maazel was born of American parents in Neuilly, France on March 6, 1930 and the family returned to Los Angeles when Lorin was still an infant. He exhibited a remarkable ear and musical memory when very young; he had perfect pitch and sang back what he heard. He was taken at age five to study violin with Karl Moldrem. At age seven he started studying piano with Fanchon Armitage. When he became fascinated with conducting, his parents took him to symphony concerts, then arranged for him to have lessons with Vladimir Bakaleinikov, then assistant conductor of the Los Angeles Philharmonic.
This 2008 live recording with the London Symphony Orchestra is Valery Gergiev's 2nd complete recording of Prokofiev's ballet Romeo & Juliet, the 1st being a 1991 Philips release with the Kirov Orchestra. This performance, like his 1st, is notable for its refinement & lyricism. It's perhaps surprising that Gergiev, known for the wildness & ferocity of his performances of other Prokofiev works, like The Fiery Angel, shows such restraint here. Gergiev clearly understands the ballet as a work in which Prokofiev, writing originally for the Bolshoi, a theater known for its conservatism (although that production was canceled), tailored his score to follow in the tradition of the 3 great Tchaikovsky ballets.