Serge Prokofieff: Romeo & Julia-Suiten op.64a-c
Romeo & Julia-Suiten op.64a-c
Super Audio CD
SACD (Super Audio CD)
Die SACD verwendet eine höhere digitale Auflösung als die Audio-CD und bietet außerdem die Möglichkeit, Mehrkanalton (Raumklang) zu speichern. Um die Musik in High-End-Qualität genießen zu können, wird ein spezieller SACD-Player benötigt. Dank Hybrid-Funktion sind die meisten in unserem Shop mit "SACD" gekennzeichneten Produkte auch auf herkömmlichen CD-Playern abspielbar. Dann allerdings unterscheidet sich der Sound nicht von einer normalen CD. Bei Abweichungen weisen wir gesondert darauf hin (Non-Hybrid).
Derzeit nicht erhältlich.
Lassen Sie sich über unseren eCourier benachrichtigen, falls das Produkt bestellt werden kann.
Lassen Sie sich über unseren eCourier benachrichtigen, falls das Produkt bestellt werden kann.
- Tonformat: stereo & multichannel (Hybrid)
- Künstler: Cincinnati Symphony Orchestra, Paavo Järvi
- Label: Telarc, DDD, 2002/2003
- Erscheinungstermin: 15.1.2009
Ähnliche Artikel
In Cincinnati bahnt sich langsam aber sicher eine Erfolgsgeschichte an: 2001 übernahm der estnische Bernstein-Schüler Paavo Järvi das Cincinnati Symphony Orchestra als Chefdirigent. Der weltweit gefeierte Charismatiker schlug damit ein neues Kapitel in der Geschichte dieses ohnehin schon höchst erfolgreichen US-Klangkörpers auf. Herausragende Aufnahmen ließen nicht lange auf sich warten: Järvi startete europäisch mit Berlioz, Sibelius und Tubin und beschäftigte sich dann mit den Werken des Wahl-Amerikaners Igor Strawinsky. Jetzt widmet er sich einem der Hauptwerke von Sergei Prokofieff: den drei Suiten aus dem Ballett Romeo und Julia. Zwischen 1936 und 1946 komponierte Prokofieff diese Stücke, nachdem er lange Jahre angestrengt versucht hatte, Shakespeares berühmte Geschichte von der Liebe eines Paares aus verfeindeten Familien auf die Ballettbühne zu bringen. Die sowjetische Kulturpolitik und die angeblich „untanzbare“ Musik machten dem Komponisten immer wieder einen Strich durch die Rechnung. Aus Enttäuschung schrieb Prokofieff die ersten beiden Suiten, um die Musik wenigstens für den Konzertsaal zu retten. Heute ist klar, dass sie zu den farbigsten und vielseitigsten Partituren gehören, die das 20. Jahrhundert zu bieten hat - der Diskografie eines der besten US-Orchester durchaus angemessen.
“Bringing together all three Romeo and Juliet suites on one recording makes for a captivating, powerful listening experience. Prokofiev’s music is a wonderful match for the Cincinnati Symphony Orchestra, so I am very excited about this disc.” —Paavo Järvi
Long hailed for his impassioned interpretations and musical precision, conductor Paavo Jarvi conducts the Cincinnati Symphony Orchestra in all three of Sergei Prokofiev’s Romeo and Juliet orchestral suites in a voluptuous new recording.
These Romeo and Juliet suites—once regarded as far too modern for ballet—have become enduring icons of 20th-century music. Listening to all of Prokofiev’s suites on one program allows us to experience Prokofiev’s own long, difficult journey with this project. It also offers a chance for listeners to revel in Prokofiev’s technical craftsmanship and his imaginative, inspired interpretations of Shakespeare’s tragedy, realized by one of America’s greatest orchestras.
Shakespeare’s Romeo and Juliet has captured the imagination of composers in the way few other plays of any era have. By the time Sergei Prokofiev set out to write his own ballet based on the young lovers’ tragic tale, numerous other composers had already written works based on the drama. There was the Berlioz symphony, Tchaikovsky’s fantasy overture, and no fewer than fourteen separate operatic settings of Romeo and Juliet. And yet those previous settings did not deter Prokofiev, who first penned a Romeo and Juliet ballet for the Kirov Ballet in the summer of 1935 (the Russian composer had already had long experience with writing music for the ballet, beginning with his first work with Serge Diaghilev in 1915 for the Ballets Russes).
But setting Shakespeare was no easy task for Prokofiev. A joke that made the rounds in Russia at the time was a spin on Shakespeare’s own verse: “There is no tale of greater woe than Prokofiev’s music for Romeo.” According to the composer himself, he had originally intended his work for the Kirov Ballet, who then backed out of their original contract. Prokofiev then made arrangements with the Bolshoi Ballet to debut his Romeo and Juliet, working with theater director Sergei Radlov. But that relationship did not prove provident either. The Russian composer’s deeply modern work was rejected by the Bolshoi’s directorship, who declared the ballet’s music impossible for dancing. (In the end, Radlov was denounced in a Soviet purge of avant-garde artists under the premise that a ballet treatment of Shakespeare was offensive.)
After more tribulations in the Soviet Union, including another broken contract with the Leningrad Ballet in 1937, the Brno Opera of Czechoslovakia finally gave the ballet its debut in 1938. This engendered quite a bit of embarrassment, considering that this was a work by an internationally celebrated Soviet composer that had been penned for a major Russian company. Indeed, the Soviet premiere of Romeo and Juliet did not arrive until 1940 at the Kirov Ballet, where the piece gathered enormous acclaim and quickly established a reputation as one of the cornerstones of Soviet art. In the meantime, Prokofiev had arranged his music into two concert suites as well as ten piano pieces, which were debuted in Moscow in 1936 and 1937. Following the work’s newfound popularity, Prokofiev created a third orchestral suite of Romeo and Juliet in 1946.
Born in Estonia, Paavo Jarvi is celebrated for an incisive, dynamic approach to orchestral conducting that was first honed at Philadelphia’s Curtis Institute of Music and at the Los Angeles Philharmonic Institute. He has held the post of Principal Guest Conductor with the Royal Stockholm Philharmonic and the City of Birmingham Symphony Orchestra. His energetic yet meticulous interpretations have earned him spots as guest conductor around the world, including appearances with the New York Philharmonic, the Berlin Philharmonic, the San Francisco Symphony, the Philadelphia Orchestra, and many other noted ensembles.
Paavo Jarvi has been hailed by critics as one of the most promising and important conductors of the younger generation. He has been called a worthy successor to one of his mentors, Leonard Bernstein. “He has much of the [Bernstein’s] charisma,” according to The Guardian (UK), “and a similar ability to galvanize an orchestra into playing with furious intensity and bravura panache.”
Jarvi took on the post of Music Director of the Cincinnati Symphony Orchestra at the beginning of the 2001 season, resulting in a vibrant partnership that has already resulted in three critically acclaimed recordings for Telarc of works by Berlioz, Sibelius, Tubin, and Stravinsky. These thrilling and vivid interpretations of Prokofiev’s richly colored orchestral suites are captured on this DSD recording, underscoring and demonstrating Telarc’s commitment to the highest standards of audio fidelity.
(concordmusicgroup. com)
Product Information
“Bringing together all three Romeo and Juliet suites on one recording makes for a captivating, powerful listening experience. Prokofiev’s music is a wonderful match for the Cincinnati Symphony Orchestra, so I am very excited about this disc.” —Paavo Järvi
Long hailed for his impassioned interpretations and musical precision, conductor Paavo Jarvi conducts the Cincinnati Symphony Orchestra in all three of Sergei Prokofiev’s Romeo and Juliet orchestral suites in a voluptuous new recording.
These Romeo and Juliet suites—once regarded as far too modern for ballet—have become enduring icons of 20th-century music. Listening to all of Prokofiev’s suites on one program allows us to experience Prokofiev’s own long, difficult journey with this project. It also offers a chance for listeners to revel in Prokofiev’s technical craftsmanship and his imaginative, inspired interpretations of Shakespeare’s tragedy, realized by one of America’s greatest orchestras.
Shakespeare’s Romeo and Juliet has captured the imagination of composers in the way few other plays of any era have. By the time Sergei Prokofiev set out to write his own ballet based on the young lovers’ tragic tale, numerous other composers had already written works based on the drama. There was the Berlioz symphony, Tchaikovsky’s fantasy overture, and no fewer than fourteen separate operatic settings of Romeo and Juliet. And yet those previous settings did not deter Prokofiev, who first penned a Romeo and Juliet ballet for the Kirov Ballet in the summer of 1935 (the Russian composer had already had long experience with writing music for the ballet, beginning with his first work with Serge Diaghilev in 1915 for the Ballets Russes).
But setting Shakespeare was no easy task for Prokofiev. A joke that made the rounds in Russia at the time was a spin on Shakespeare’s own verse: “There is no tale of greater woe than Prokofiev’s music for Romeo.” According to the composer himself, he had originally intended his work for the Kirov Ballet, who then backed out of their original contract. Prokofiev then made arrangements with the Bolshoi Ballet to debut his Romeo and Juliet, working with theater director Sergei Radlov. But that relationship did not prove provident either. The Russian composer’s deeply modern work was rejected by the Bolshoi’s directorship, who declared the ballet’s music impossible for dancing. (In the end, Radlov was denounced in a Soviet purge of avant-garde artists under the premise that a ballet treatment of Shakespeare was offensive.)
After more tribulations in the Soviet Union, including another broken contract with the Leningrad Ballet in 1937, the Brno Opera of Czechoslovakia finally gave the ballet its debut in 1938. This engendered quite a bit of embarrassment, considering that this was a work by an internationally celebrated Soviet composer that had been penned for a major Russian company. Indeed, the Soviet premiere of Romeo and Juliet did not arrive until 1940 at the Kirov Ballet, where the piece gathered enormous acclaim and quickly established a reputation as one of the cornerstones of Soviet art. In the meantime, Prokofiev had arranged his music into two concert suites as well as ten piano pieces, which were debuted in Moscow in 1936 and 1937. Following the work’s newfound popularity, Prokofiev created a third orchestral suite of Romeo and Juliet in 1946.
Born in Estonia, Paavo Jarvi is celebrated for an incisive, dynamic approach to orchestral conducting that was first honed at Philadelphia’s Curtis Institute of Music and at the Los Angeles Philharmonic Institute. He has held the post of Principal Guest Conductor with the Royal Stockholm Philharmonic and the City of Birmingham Symphony Orchestra. His energetic yet meticulous interpretations have earned him spots as guest conductor around the world, including appearances with the New York Philharmonic, the Berlin Philharmonic, the San Francisco Symphony, the Philadelphia Orchestra, and many other noted ensembles.
Paavo Jarvi has been hailed by critics as one of the most promising and important conductors of the younger generation. He has been called a worthy successor to one of his mentors, Leonard Bernstein. “He has much of the [Bernstein’s] charisma,” according to The Guardian (UK), “and a similar ability to galvanize an orchestra into playing with furious intensity and bravura panache.”
Jarvi took on the post of Music Director of the Cincinnati Symphony Orchestra at the beginning of the 2001 season, resulting in a vibrant partnership that has already resulted in three critically acclaimed recordings for Telarc of works by Berlioz, Sibelius, Tubin, and Stravinsky. These thrilling and vivid interpretations of Prokofiev’s richly colored orchestral suites are captured on this DSD recording, underscoring and demonstrating Telarc’s commitment to the highest standards of audio fidelity.
(concordmusicgroup. com)
Rezensionen
Stereo 04/04: "Järvi inspiriert das Cincinnati Symphony Orchestra zu großer Präzision und schafft es, das Ensemble immer wieder wunderbar einschwingen zu lassen." Audio 04/04: "Man höre und staune, in welch betörendem Klangrausch Paavo Järvi Prokofieffs Liebesszene zwischen Romeo und Julia schildert. Und man leide in superber Tonregie mit in der herzzerreißenden Klage Romeos am Grab der Geliebten."- Tracklisting
- Mitwirkende
Disk 1 von 1 (SACD)
- 1 Suite No. 1, op. 64A
- 2 Suite No. 2, op. 64B
- 3 Suite No. 3, op. 101
Mehr von Serge Prokofief...
Kapellmeister-Edition - Great German Conductors
EUR 49,99**
10 CDs
EUR 17,99*
Wolfgang Sawallisch - Complete Recordings on Philips & Deutsche Grammophon
43 CDs
EUR 189,99*
Matthias Kirschnereit - Time Remembered
EUR 27,99**
2 CDs
EUR 12,99*
Augustin Hadelich - Recuerdos
EUR 19,99**
CD
EUR 9,99*
Florian Noack - The Piano Transcriptions
CD
EUR 19,99*