Search - Prokofiev, Neeme Jarvi, Scottish National Orchestra :: Prokofiev: Romeo and Juliet Suites Nos. 1-3

Why Not the Whole Ballet?

J Scott Morrison | Middlebury VT, USA | 09/03/2009

(4 out of 5 stars)

"I may be wrong, but I think this was first ever recording that included all three suites that Prokofiev excerpted from his evening-length ballet 'Romeo and Juliet'. Practically all the music from the ballet is included but the sequence of passages has little correlation with the narrative of the ballet. For instance, Suite One follows the Balcony Scene with The Death of Tybalt, which is from Act II of the ballet. So, for someone who is interested in following the story of the ballet, these three separate suites are not the answer.



A little history: 'Romeo and Juliet' was composed for Leningrad's Kirov Theater in 1935 but was rejected by both the Kirov and Moscow's Bolshoi as 'undanceable.' It was given its first performance in 1938 in Brno, and of course it has become a huge favorite of ballet companies and their audiences. Before that first staged performance, Prokofiev fashioned the First Suite for concert performance. Suite No. 2 was made in 1947. It opens with the ballet's opening music ('Montagues and Capulets') and leads directly into the formal dances at the Capulet's ball followed by a flashback to 'The Young Juliet'. It ends with 'Romeo at Juliet's Tomb'. Suite No. 3 was made the year before (why they are numbered backwards is not clear). It opens with 'Romeo at the Fountain' followed by 'Morning Music.' Clearly, in all three of these suites, Prokofiev was more interested in fashioning sequences that made sense musically and atmospherically. Those who know and love the ballet will be discombobulated by these sequences, but those coming the music for the first time will be charmed by all three suites.



As for the performances, Neeme Järvi and the Scottish National Orchestra do a fine job. The playing is broad and lyrical, with a little less emphasis on the rhythmic angularity of the livelier moments (as one hears in Gergiev's recording of the complete ballet, for instance). As far as I'm concerned the best recording of the complete ballet is that with Maazel conducting the Cleveland Orchestra, a desert-island set. These performances were recorded in 1984 (No. 1), 1985 (No. 2) and 1986 (No. 3) and issued originally in 1991. Recorded sound has the typical mellow Chandos ambiance provided from the beginning of Chandos's existence by Brian and Ralph Couzens.



Scott Morrison"