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It's all about the music, dude! Sit down, relax and listen to some tunes.

Just finished Act I. The grand, phallic orchestral plunges in the balcony scene are nigh-on perfect

but I would have preferred just a touch of ritard (or slowing) in the bare, unison string descent leading up to them. No chance to prepare for the final ecstatic climax either, but then, our poor imaginary dancers would topple over. But then again, they're imaginary.

Otherwise, even the over-played music, (esp. from Suite #1), is charming and fresh. I don't recall the lyrical trumpet solos so beautifully-played. The clarinet soloist infuses Juliet's music with a touching sadness. Very special stuff.

Everything that the Maazel and Gergiev lack--grace, charm, cartoonish humor, tremulous longing--is here in spades, no fussiness to distract. Reminds me of Leinsdorf's and Ozawa's Boston peformances. The BSO has a long history with Prokofiev's wonderful ballet.

As a recording, I knew I'd be in for a treat when the repeat of the opening string material--an octave higher the second time around--didn't grate on my ears. The militaristic music makes it's incisive impact too: "The Fight" from Act I is a lot of fun, and the stretch with raspy, muted horns and low trumpets made me smile. The the brass chorales elsewhere have a beautiful burnished glow.

I was worried the Oslo wouldn't be able to summon the "Russian" weightiness needed for the music, but I was quickly reminded that you can see Russia from Oslo's back yard. : )

Recordings of the full ballet don't come around too often; it's interesting that there wasn't much fanfare. I wonder what the British press, (Gramophone and Music Web, etc) will think, as well as Mr. Hurwitz.

On to Act II.




Edits: 09/25/16 09/25/16 09/25/16

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