Antonio Pappano - Tchaikovsky: Overtures & Fantasies (2007)

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Antonio Pappano - Tchaikovsky: Overtures & Fantasies (2007)

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Tchaikovsky’s most famous work, The Nutcracker, is presented in this stunning new recording by the world’s greatest orchestra, the Berliner Philharmoniker, under the baton of their celebrated conductor Sir Simon Rattle. This musical fairytale follows Clara and her unusual prince and protector, The Nutcracker, through adventures and exotic delights in the magical Kingdom of Sweets.

The Nutcracker is the most popular ballet, and its annual holiday performances have become a treasured tradition the world over. This release features the live recording of Act II from December 2009’s Silvesterkonzert, Germany’s New Year’s celebrations. Act I was recorded in the studio during the same period.

Composer: Peter Ilyich Tchaikovsky
Performer: Roberto Valentini, Nikola Matisic, Mark Stone
Conductor: Antonio Pappano
Orchestra/Ensemble: Santa Cecilia Academy Rome Orchestra, Santa Cecilia Academy Rome Chorus, Rome State Police Music Band

Reviews: Call it "Tchaikovsky – Overtures & Fantasies" and you leave out the Waltz and Polonaise from Eugene Onegin, works that are neither overtures nor fantasies, but dances excerpted from an opera. Call it "Tchaikovsky's Greatest Hits" and you include "Francesca da Rimini – symphonic fantasia after Dante," a work that is neither great nor a hit but a long, slow visit to the second circle of hell. But whatever you call it, you'd have to call this 2006 EMI disc by Antonio Pappano conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia singularly unsuccessful. Pappano is an adept technician – which he'd have to be to hold together the sprawling 1812 Overture – and a decent interpreter – which he'd have to be to breathe life into the played-to-death Romeo and Juliet Fantasy Overture – but he doesn't seem to have any particular feel for the music. His Francesca da Rimini is dull – check out the sluggish storm music and flaccid love music – while his Romeo and Juliet is discursive – check out the sluggish fight music and torpid love music. His Waltz and Polonaise from Eugene Onegin with the Coro dell'Accademia Nazionale di Santa Cecilia are heavy and sloppy with far too much stress on the downbeat, while his 1812 with the Banda Musicale della Polizia di Stato is loud and soupy with far too much emphasis on the brass and percussion in the climax. Recorded in dim and distant sound by EMI in the Sala Santa Cecilia in the Parco della Musica in Roma, this disc does no service for anyone involved.