RACHMANINOV Troika
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov
Genre:
Opera
Label: Bel Air Classiques
Magazine Review Date: 11/2016
Media Format: Digital Versatile Disc
Media Runtime: 185
Mastering:
DDD
Catalogue Number: BAC133
Tracks:
Composition | Artist Credit |
---|---|
Aleko |
Sergey Rachmaninov, Composer
Alexander Vassiliev, Old Gypsy, Bass Anna Nechaeva, Zemfira, Soprano Chorus of La Monnaie Kostas Smoriginas, Aleko, Bass-baritone Mikhail Tatarnikov, Conductor Sergey Rachmaninov, Composer Sergey Semishkur, Young Gypsy, Tenor Symphony Orchestra of La Monnaie Yaroslava Kozina, Gypsy Woman, Mezzo soprano |
(The) Miserly Knight |
Sergey Rachmaninov, Composer
Alexander Kravets, Moneylender, Tenor Alexander Vassiliev, Servant, Bass Chorus of La Monnaie Dmitry Golovnin, Albert, Tenor Ilya Silchukov, Duke, Baritone Mikhail Tatarnikov, Conductor Sergei Leiferkus, Baron, Baritone Sergey Rachmaninov, Composer Symphony Orchestra of La Monnaie |
Francesca da Rimini |
Sergey Rachmaninov, Composer
Alexander Vassiliev, Virgil’s Shade, Bass Anna Nechaeva, Francesca, Soprano Chorus of La Monnaie Dimitris Tiliakos, Lanceotto Malatesta, Baritone Dmitry Golovnin, Dante, Tenor Mikhail Tatarnikov, Conductor Sergey Rachmaninov, Composer Sergey Semishkur, Paolo, Tenor Symphony Orchestra of La Monnaie |
Author: Mark Pullinger
Aleko, a student work based on Pushkin, is decked in a kaleidoscope of psychedelic videography, flower-power costumes, brightly coloured wigs and painted faces like dolls (seasick green for Sergey Semishkur’s Young Gypsy). Giant tarot cards descend for this tale of gypsy lore but movement is limited to Japanese-style kabuki gestures. When Aleko discovers his wife and her young lover, he slowly lays a fist on the tenor’s shoulder to murder him. Kostas Smoriginas is a stentorian Aleko, a favourite Chaliapin role, and Anna Nechaeva proves a fearless Zemfira.
Rachmaninov’s ashen score to The Miserly Knight broods nicely under Mikhail Tatarnikov’s direction but the staging again puzzles. Albert, the grasping knight’s impoverished son, is in a crumpled fat-suit, all the characters with feet of concrete slabs. Dehlholm uses video footage of the knight – flinty baritone Sergei Leiferkus – in his cellar, fondling gold bars. Leiferkus is still in fine voice but his knight is already available on video from Glyndebourne. Alexander Kravets proves a fine Mime-style wheedling moneylender.
Francesca da Rimini is the strongest opera of Rachmaninov’s trilogy. Dehlholm stages it with similar costumes to Aleko but with colour drained to simple black and white. It looks more like a zebra crossing than Dante’s second circle of hell. Clouds scud across the frontcloth while Paolo, Francesca and Lanceotto are restricted to slow motion Robert Wilson-like semaphore, where the height of ecstasy results in tame hand-holding – a crying shame when the vocal performances are so strong. Dimitris Tiliakos, clad in chainmail, is a gnarly Lanceotto Malatesta (an old Leiferkus role), while Nechaeva is a powerful Francesca and Semishkur – looking distinctly unimpressed with his beige bald cap – rings out confidently as Paolo.
Tatarnikov leads a muscular account of the score, although his groans are distracting. The Monnaie orchestra play with tremendous verve but BelAir’s horrible, boxy sound is another deterrent to enjoyment in this disappointing release.
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