Despite the fame and
popularity of Scheherazade, Rimsky-Korsakov
was first and foremost an opera composer.
At the same time he was a master of
the orchestra, famous for his technical
and imaginative prowess during his lifetime
and in perpetuity. There can be no better
way of acknowledging the nature of Rimsky’s
achievement than by hearing a first-rate
orchestra present the music of the operas
in the concert versions made by the
composer himself, in order to bring
the music before a wider public.
An orchestra from Malaysia,
a conductor from Holland, a composer
from Russia, a recording company from
Sweden: evidence of music as the world’s
international language.
Kees Bakels is a conductor
with a strong international pedigree.
Not only has his tenure as principal
conductor of the Malaysian Philharmonic
raised their stature on to an international
level, he also performs regularly in
Europe and in Britain in particular.
He has a lengthy and enduring relationship
with the Bournemouth Symphony Orchestra.
The standard of playing
recorded here is a tribute to both conductor
and orchestra. Rimsky’s colourful orchestration
always gives opportunities both corporate
and individual. Ensemble is particularly
disciplined. The subtle and sensitive
BIS engineering is absolutely at the
service of the music in allowing the
dynamic range to make its mark at either
end of the spectrum. In this regard
it is a fascinating exercise to compare
this new recording with the reissued
Chandos set from Neeme Järvi and
the Royal Scottish National Orchestra
(CHAN 10369 X) from twenty years ago.
These vivid performances come up well,
though in terms of recorded sound without
quite the natural balance and bloom
that the BIS engineers achieve. Both
sets of performances are excellent,
so too the orchestral playing. And on
two CDs at an attractive price the more
comprehensive Järvi collection
does have its advantages.
In Bakels’s hands rhythmic
vitality and melodic richness are found
side by side, allowing the composer
to be heard at the height of his considerable
powers in conjuring the magical worlds
of his three operas: Pan Voyevode,
Christmas Eve and The Snow
Maiden. There are memorable themes
and gorgeous sounds at every turn. Rarely
can music have been created that makes
such a mark on first hearing. If the
two overtures (The Tsar’s Bride and
the Overture on Russian Themes)
do not have quite the same richness
and imagination, they remain thoroughly
appealing.
The presentation has
the usual BIS standards, though the
insert notes on the opera suites are
a little on the thin side. More on the
music itself would have been welcome.
Even so, this is an appealing and highly
recommendable issue.
Terry Barfoot
Malaysian Philharmonic Orchestra/Kees Bakels
