Search - Alexei Ivanov, Pavel Lisitsian, Pyotr Il'yich Tchaikovsky :: Tchaikovsky: The Queen of Spades

The Classic 1952 Bolshoi Queen Of Spades

Jeffrey Lipscomb | Sacramento, CA United States | 05/18/2005

(5 out of 5 stars)

"Preiser has done an excellent job of restoring this classic recording of Pique Dame (aka Queen of Spades). My old LP set (MK 207C) had so much surface noise that it made for difficult listening (Russian LPs of the 1950's were often pretty hard on the ears). The 1952 mono sound is excellent for its vintage.



Over-all, this is the most satisfying Pique Dame of those I have heard. Melik-Pashayev's conducting is excellent, if not quite a match for Khaikin (in a 1960's stereo Melodiya/Angel LP set not available on CD). The Bolshoi Theatre Orchestra is, of course, idiomatic and very Russian (unlike the BSO with Ozawa). Ghermann is sung by the great Russian tenor Georg Nelepp, and Evgenia Smolenskaya is a fine Lisa. Evgenia Verbitskaya's Countess is one of the best, if not quite a match for Regina Resnik in the otherwise badly sung Rostropovich set. It's a strong ensemble, and the Yeletsky of Pavel Lisitsian is simply magnificent.



Since I know I won't be listening to Rostropovich or Ozawa again, they are now on the way to the used CD store. I'm sticking with this Bolshoi set (no libretto) and the Khaikin LP set.



Highly recommended."

The Greatest Gherman of all Time

V. Stasov | 12/29/2005

(5 out of 5 stars)

"This recording is spectacular, first of all, for the wealth of vocal riches from the Bolshoi, and for the magnificent and dramatic leadership of Alexander Melik-Pashayev, chief conductor of the Bolshoi from 1952 until he was forced out and replaced in 1963 by the lesser talent of Evgeny Svetlanov. Like the great Nikolai Golovanov whom he replaced, Melik-Pashayev died suddenly and prematurely - as did numerous other gifted Russian artists - as a consequence of the traumatic mistreatment and abuse they received at the hands of the Soviets.



Along with Melik-Pashayev, the other stellar member of this ensemble is Georgi Nelepp, the Bolshoi's leading tenor. He possessed a first magnitude voice of supernaturally beautiful tone and great power - a singer with immense psychological depth and a tragic and erotic quality to his singing that made him not only the greatest Gherman and Sadko of all time, but one of the greatest tenors in recorded history.



According to the sublime Galina Vishnevskaya, Prima Donna and unapproachable Queen of the Bolshoi during that era, Nelepp had transferred from the Kirov to the the Bolshoi. She reports that he had apparently ruined a number of people by denouncing them to the Communist Party. This accusation is not universally accepted by all who knew Nelepp, although there is very little information available about him unfortunately, as is the case with many great artists of the Soviet period. However, the story of Nelepp's treachery was revealed to Vishnevskaya as a warning by Nikhandr Khanayev, another leading Bolshoi tenor.



She also witnessed a shocking public confrontation involving Nelepp during which a tired and worn out old woman spat in his face in front of the Bolshoi company, accusing him of ruining her family by betraying them to the Communists.



Vishnevskaya also tells us, in her brilliant autobiography, Galina: A Russian Story, that Nelepp had an unusual hobby for a Soviet-era man, embroidering towels and men's shirts. She claims that he was the greatest Gherman she had ever heard - perfect for the role, and I agree. This recording preserves the warmth, beauty and dramatic potency of his voice. Especially in the letter scene, Nelepp draws a frightening portrait of a tormented man in the grip of mental illness - Melik-Pashayev's conducting of this scene is tragic and terrifying beyond belief.



Alexei Ivanov's Tomsky adds another spectacular voice to this recording. His ballad, in which he tells the story of the old Countess's early gambling addiction, is sung with superior musicality and beauty of intonation.



The other supreme artist in this recording is Pavel Lisitsian, whose magnificent baritone alone would make this recording worthwhile. With his unique and immediately recognizable voice, he sings the role of Prince Yeletsky with burnished warmth and grace.





Many people don't realize that the Count St. Germaine, to whom the Countess traded her questionable virtue for the secret of winning at cards, was a legendary character during the 18th century and later. He was reported to be an alchemist and magician of sorts who lived for centuries, appearing in various parts of Europe. His name was surrounded with mysterious tales - his secrets of eternal life and other magical forms of knowledge made him a permanent character in occult literature. St. Germaine eventually even became one of the so-called legendary Ascended Masters of the Theosophical tradition, so embedded was he in the mystical lore of the last few centuries.





Gergiev gives us additional beautiful interpretations of Pique Dame - both the DVD and the recording have excellent casts and conducting. But as great as some of his singers are, they can't approach the talent of this earlier Bolshoi cast, nor is the conducting as exciting as Melik-Pashayev's.



In spite of Vishnevskaya in the role of Liza, her husband Rostropovich's Pique Dame is insipid and uninspired, plodding as usual.



The cast of this thrilling performance is representative of the enormous wealth of talent at the Bolshoi during this period. This gorgeous 1952 recording, with its spiritual authenticity and dramatic power, has my highest recommendation.











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