Search - Sergey Prokofiev, Antonio Pappano, London Symphony Orchestra :: Prokofiev: Sinfonia Concertante; Sonata for cello and piano

David N. (ilikeallmusic) from GADSDEN, AL
Reviewed on 1/11/2007...

Comes with all artwork and booklet

Shock-horror: even better than Rostropovich

A. Leung | Hong Kong SAR | 09/18/2006

(5 out of 5 stars)

"Before this recording arrived, Rostropovich's interpretation on the Erato label came top of the pile. And though it remains a document of that cellist's unrepentant virtuosity and exquisite sensitivity, it never struck me as entirely ideal. The problem lay with the orchestral accompaniment, which, while passable in the work's calmer moments, never quite rose to the ferocious altitudes demanded by the score's more tempestuous effusions, a shortcoming that Rostropovich's take no prisoners approach only emphasised. This critical imbalance, especially problematic when the composition's very conception presupposes equality between the ensemble and soloist, is thankfully a thing of the past with this release.



For a start, the LSO, led by Pappano, give Prokofiev's idiosyncratic, muscular score precisely the sharp profile so markedly absent from the Erato rendition. Where Ozawa elicited precise if perfunctory brass on the older recording, Pappano's horns, trumpets and trombones are thunderously incisive; whereas Ozawa's strings were thin and paralytic, Pappano's are agile and sinewy. It's difficult to believe that both conductors were recorded with the same orchestra. As for the soloist, it's shocking but true: Han-Na Chang brings even more fireworks to the cello part than Rostropovich. The Allegro Giusto is stark proof. Its ridiculously fast tempi may not be to everyone's liking, but as far as the cellist's performance is concerned, it's almost unbelievably uninhibited - and yet completely controlled. Never before has a soloist made this movement sound so alive; this is string-breaking panic at its best. Rostropovich could probably play at this speed if he wanted to, but, so far, he hasn't. And when the music decelerates and asks for Romantic warmth, Chang's crystalline tone breathes with poetic freedom.



Some might object to the exaggerated contrasts she brings to the piece. Perhaps Chang is too black and white, showing up the transition from quick-fire staccato to languid legato with a touch of over-keenness, and occasionally one longs for Rostropovich's arguably more mature, architecturally synoptic vision. Chang's isn't a subtle approach; quite the opposite. But what you lose in a sense of the work's overarching structure you more than make up for in pyrotechnic excitement.



Prokofiev's underrated Cello Sonata makes a worthwhile addition, and if you're not yet familiar with this rewarding music, this is a good place to start. With Chang bringing the same unswerving energy to proceedings, and Pappano delivering well-judged, idiomatic accompaniment on the keyboard, the pair of them bring off this endearing example of Prokofievian jeu d'esprit with convincing flair.



With all due respect to Rostropovich, Chang's playing is so grippingly Promethean that it establishes a new benchmark. It is because of this, and the LSO's supple, alert playing - which, importantly, realises the music's symphonic potential for the first time - that this well-recorded release deserves an unqualified five stars.

"

Best performance of this masterpiece

A. Leung | 05/22/2003

(5 out of 5 stars)

"Whoever this cellist is, she's sublime! This is the best performance outside of Rostropovich (of course) that I have ever heard of this piece. She captures the nuances of the piece's passions, which is uncharacteristic of Prokofiev's music. An amazing recording."