Ottorino RESPIGHI (1879-1936)
Feste Romane, P157 (1928) [23:46]
Fontane di Roma, P106 (1914-16) [14:50]
Pini di Roma, P141 (1923-24) [21:14]
Sinfonia of London/John Wilson
rec. 2019, Church of St. Augustine, Kilburn, London
CHANDOS CHSA5261 SACD
[60:06]
Releasing a recording of Respighi’s Roman trilogy – Fountains of Rome (1916), Pines of Rome (1924), and Roman Festivals (1928) – makes a statement. It is a showcase for
an ensemble’s skill, a conductor’s interpretive choices, and a record
label’s sound quality. Such is the case with this Chandos super-audio CD.
The Sinfonia of London under John Wilson succeed spectacularly in two of
these three aims. The playing is virtuosic, making, if anything, Respighi’s
trilogy of showpieces sound almost too easy. No passage is too difficult –
listen to the glittering opening of the “Pines of the Villa Borghese” from Pines of Rome, where each rhythmic pattern fits together like
pieces of a mosaic. The brass are secure throughout the album, never
leading the listener to worry a passage will be muddy or its high notes
botched. Their articulations are precise, no matter the speed (try the
repeated-note trumpet passages throughout the aforementioned “Pines of the
Villa Borghese”). In quiet music, such as the “Pines of the Janiculum,” the
solo clarinet achieves an almost superhuman level of dynamic control,
floating its hushed tone on a cushion of air, never letting large melodic
leaps break the lyrical line.
The recording quality is stupendous. It is clear enough for the listener to
catch every detail – from the piano and harp glissando at the end
of the “Pines of the Villa Borghese” to the entrance of the organ at the
climax of the “Pines of the Appian Way.” There is even a moment of
reverberation after the orchestral cut-off, allowing the sound of the organ
to linger for an unmistakable moment, highlighting its contribution. The
intensity of the big moments, like the conclusion of “Circuses” from Roman Festivals, for example, is physically palpable as percussion
and brass vibrate the listener’s bones.
The problem is interpretation. As spectacular as the Sinfonia of London’s
playing is, its very perfection draws attention to the defects of the
overall conception. John Wilson’s conducting is utterly professional but
never inspired. That is, the performances are straightforward readings of
each work, with even moments of rubato and nuances of dynamics or
tempo sounding workmanlike. Each is there because it is supposed to be
there, not because conductor or orchestra felt the urgency or inspiration
to place them here and not there or vice versa. This is
most noticeable in slow movements, such as the opening and closing of the Fountains of Rome. The recording captures every tinkle of bells
and rich line of string harmony for the listener but the music seems to
plod along stiffly and metronomically, as if trying to reach a destination
rather than enjoying its journey. Swifter tempos do not help. In the
pilgrim’s approach of Roman Festival’s “The Jubilee” or the
instrumental Gregorian chant of the “Pines Near a Catacomb,” what was
perhaps intended as a foretaste of the excitement to come feels hurried
along.
Competition in the Roman trilogy is fierce. There are many excellent
recordings, from Muti with the Philadelphia Orchestra (EMI, now Warner) to
Ozawa with the Boston Symphony (Deutsche Grammophon) and Dutoit with the
Orchestre symphonique de Montréal (Decca). Reiner and the Chicago Symphony
(RCA) never recorded Roman Festivals but their Pines and Fountains are classic performances. More recently, John Neschling
and the São Paulo Orchestra released a super-audio version of the trilogy
on BIS. Compared to Wilson, Muti offers similar levels of excitement but in
harsh sound, while Dutoit has beauty of sound but lacks the bared-teeth
quality of execution. Both Reiner and Ozawa drip with atmosphere in the
reflective moments – Wilson sounds perfunctory in comparison – and offer
plenty of virtuosity in the rest, although the sonics of neither recording
are as clear or detailed as this new Chandos release. Neschling has the
best recording of the competition and is a shade more deliberate in his
interpretation than Wilson, no bad thing.
Critics of Respighi’s showpieces claim they are all style and no substance,
all surface and no depth. If this reflects your views, buyer beware. This
performance reveals nothing more than what is on its surface – but what a
surface it is! If a glittering sheen appeals to you, go for it and enjoy.
Christopher Little
Previous reviews:
John Quinn
(Recommended) ~
Nick Barnard
(Recording of the Month) ~
Brian Wilson
(Retrospective Summer 2020)
