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Sleeping Beauty at performance speed


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Hi

I am looking for a good recording of Sleeping Beauty at performance speed. I have Previn, but is too quick (in the variations I dance, at least). Does anyone know what version is commercially available on CD with these characteristics?

Thanks

Silvy

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Silvy,

I have a recording of the complete SLEEPING BEAUTY with the National Philharmonic conducted by Richard Bonynge (see link below). Though I'm not a dancer, Bonynge's tempi are slower than Previn's and sound comfortably danceable to my ears. I'm sure someone else can chime in with another, perhaps better recommendation, but I would go with the Bonynge. There are 8 other complete SLEEPING BEAUTY recordings on the Tower Records site, just for your information.

http://www.towerrecords.com/product.aspx?pfid=1710897

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Shame, though, that Bonynge has such a sloppy orchestra. :grinning: The only "Beauty" recording that is danceable is that from the Bolshoi Theatre conducted by Kopylov, simply because it is a live performance of a ballet performance transferred to disc. I don't think it's still available.

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I believe that the original question was focused on tempo, not the relative merits of the orchestra. I still vote for the Bonynge--some dancers find the Bolshoi recording too slow.

I am very fond of the Gergiev recording of Sleeping Beauty, although, again the tempi are a matter of preference. This recordiing is certainly energetic in sections.

I like Mark Ermler's recordings with Covent Garden--I think his Swan Lake is especially fine. He does have a Sleeping Beauty available, both highlights and complete, which you might like to listen to and see if the variation speed is comfortable for you.

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I am very fond of the Gergiev recording of Sleeping Beauty, although, again the tempi are a matter of preference.  This recording is certainly energetic in sections.

The Gergiev / Kirov recording of Sleeping Beauty is one of Gergiev's signature bad recordings. I don't know what the sound engineers did to further this bad sound, but it is spectacular. It's like you're listening with a crash helmet around your head.

Musically Gergiev puts a lot of energy into the climaxes. So the Rose Adagio is terrific, and so is the Vision scene and the 3d act PDD, but just like the ballet is not about the principals only, the music isn't just working its way to the 'climaxes'. This misunderstanding is fatal IMO.

I really like the recording by Mikhail Pletnev and the Russian Nat O. Pletnev has also performed Sleeping Beauty on the piano a lot, so he knows the score inside out. (As far as I know Gergiev rarely ever conducts the ballet.)

For studying the steps perhaps the Kirov / Larissa Lezhnina dvd would be good.

Have I ever said this is probably the most gorgeous music on the face of the earth?

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Gergiev's "Beauty" was one of the first recorded by the Philips team at the Mariinsky (along with Prokofiev's "Romeo and Juliet"), and still a long time before they completely mastered its acoustics. I agree with Herman. As a recording it's interesting for its details, but a general vision of the work as a whole seems to be absent. Gergiev has the advantage of the Mariinsky orchestra, and they can play the score blindfolded. He never plays it in performance, but for that the dancers are eternally grateful :blushing:

Can't find much good to say about Pletnev's deadpan effort, though. Pletnev may be a first rate pianist, but as a conductor I still need to hear his first convincing recording. I find his "Beauty" totally bloodless and dull, while most of the dansante numbers are a total loss. Great idea to turn the apotheose in a piano concerto, that's true :grinning: The recording is one of those modern digital ones (with four D's I believe) where everything sounds so perfectly clean and polished that one would wish for the return of a good old scratchy vinyl LP... :)

The best CD recording (now that we got to the sublect anyway) for my money is still Antal Dorati with the Concertgebouw Orchestra from Amsterdam.

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I am very fond of the Gergiev recording of Sleeping Beauty, although, again the tempi are a matter of preference.  This recording is certainly energetic in sections.

The Gergiev / Kirov recording of Sleeping Beauty is one of Gergiev's signature bad recordings. I don't know what the sound engineers did to further this bad sound, but it is spectacular. It's like you're listening with a crash helmet around your head.

Musically Gergiev puts a lot of energy into the climaxes. So the Rose Adagio is terrific, and so is the Vision scene and the 3d act PDD, but just like the ballet is not about the principals only, the music isn't just working its way to the 'climaxes'. This misunderstanding is fatal IMO.

I really like the recording by Mikhail Pletnev and the Russian Nat O. Pletnev has also performed Sleeping Beauty on the piano a lot, so he knows the score inside out. (As far as I know Gergiev rarely ever conducts the ballet.)

For studying the steps perhaps the Kirov / Larissa Lezhnina dvd would be good.

Have I ever said this is probably the most gorgeous music on the face of the earth?

I totally agree with you. When I purchased Gergiev's Kirov version, I was

unpleasantly surprised to say the least. :helpsmilie: FEDOTOV SHOULD HAVE RECORDED IT!!! Also, the location of the recording was the Maryinsky pit, but it sounded like they were playing in a tin can. I never thought of it as wearing a crash helmet - perfect description!!! :wacko:

For me, Previn's recording with the LSO (1974) was the IT recording until I bought Pletnev's. IMHO Pletnev's performance surpasses Previn's (something I didn't think could happen). Previn's was great in that the specifics were delineated. For example, the fairies first appearance and variations, was so magical it sounded supernatural. Previn's tempi was fast here - not danceable, but the fairies sounded like magical beings. You could differentiate between the mortals and

the immortals in the music.

IMHO the BEST recording - THE recording to beat is without question Pletnev's. It is a very robust performance. There is total crispness, clarity and spectacular tonality. The musicianship is superior on all levels: You feel like you are on stage IN the performance. The acoustics, engineering and production values are high. The Mazurka, Finale & Apotheose are a revelation. Indeed, the only saving grace of Gergiev's performance is Aurora's first entrance and the Rose Adagio. Pletnev

speeds up Aurora's final balances and that's the only flaw. So, when I play the CDs I listen to Pletnev then cheat by flipping to disc two for number 8 on Gergiev's version, and back to disc 1 to Pletnev's number 17 track to continue the sublime experience. :D When I listen to this masterpiece, I know there is a God.

Marc, have you tried Pletnev's version of Prokofiev's "Cinderella?" IMO I found it exceptional and quite convincing. I purchased this one before his "Beauty," and I was very pleased. In fact, his "Cinderella" prompted me to give his "Beauty" a go.

Conductors direct and orchestras play the same notes but interpretations vary. If you want 'out of this world' recordings, I'd vote for anything by V. Horovitz, Haifetz's version of Tchaikovsky's Violin Concerto in D Major, and von Kleiber's version of Beethoven's 5th with the Vienna. In the end, its all a matter of personal preference.

PS: For steptext clarity, I bow at Kolpakova's altar - DVD (1982). She coached Lezhnina in the role. Even though she was 50 in that performance, her technique was still flawless.

Edited by Cygnet
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'For me, Previn's recording with the LSO (1974) was the IT recording until I bought Pletnev's. IMHO Pletnev's performance surpasses Previn's (something I never thought could happen). Previn's was great in that the specifics were clearly delineated. For example, the fairies first appearance and variations, as well as Act II were so magical they seemed supernatural in sound. Previn's tempi was fast here - not danceable, but they sounded like magical beings.'

[/b] My favorite recording remains Previn's. The LSO sounds great and Previn has a marvelous feel for the drama and magic of the story -- you hear it immediately in the Prelude with the contrast of the fury of Carabosse's theme to the radiant lyricism of the Lilac Fairy's theme. In fact, the entire Prologue sounds glorious, despite the fast tempi of the fairy variations. But Previn and the LSO outdo themselves in 'The Vision' scene. It's absolutely ravishing! This is by far his best Tchaikovsky ballet recording.

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'For me, Previn's recording with the LSO (1974) was the IT recording until I bought Pletnev's. IMHO Pletnev's performance surpasses Previn's (something I never thought could happen). Previn's was great in that the specifics were clearly delineated. For example, the fairies first appearance and variations, as well as Act II were so magical they seemed supernatural in sound. Previn's tempi was fast here - not danceable, but they sounded like magical beings.'

[/b] My favorite recording remains Previn's. The LSO sounds great and Previn has a marvelous feel for the drama and magic of the story -- you hear it immediately in the Prelude with the contrast of the fury of Carabosse's theme to the radiant lyricism of the Lilac Fairy's theme. In fact, the entire Prologue sounds glorious, despite the fast tempi of the fairy variations. But Previn and the LSO outdo themselves in 'The Vision' scene. It's absolutely ravishing! This is by far his best Tchaikovsky ballet recording.

Hi MakarovaFan!

This is OFF TOPIC :helpsmilie: I think Previn's best Tchaikovsky ballet recording is "Nutcracker" (1972) with the LSO. Again, not danceable but well paced with superior mucisianship and tonal clarity. As one critic put it at the time, Previn's "Nutcracker" should be, ". . . placed at the top of the list of all available choices." IMHO it STILL is. Its superior to his most recent one with the Royal Philharmonic. (Lightening doesn't strike twice in the same place :wacko: ). I've heard many - in live performance, and I've bought my share over the years: Ormandy with the Philadelphia (my first one when I was a pre-schooler), Bonynge with the National, Lanchbery with the Philharmonia, Kopylov's (the Maximova/Vasiliev tape) and Rodeszhtvensky's, both with the Bolshoi. This one is IT. Only the late Victor Fedotov did a comparable job. I heard Fedotov live with the Maryinsky and on Lezhnina's DVD, and HE didn't have the Ambrosian Singers to backup the Snowflakes like Previn did!

Edited by Cygnet
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I have heard Pletnev’s “Cinderella”, Cygnet, even as most of his other recordings (Tchaikovsky symphonies, Rachmaninov symphonies :sleeping: etc). It's all the same. I still need to hear the first one that convinces me. Most of his efforts are cold, clinically sounding, clumsily crafted westernized surrogates. I find it hard to believe that this is actually a Russian orchestra, with a Russian conductor playing. You talk about “clarity and spectacular tonality”. Excuse me, what tonality? Everything sounds flat as a pancake with Pletnev. If you want to hear tonality and a sound image which has character, body and bite, please listen once to Dorati and the Concertgebouw Orchestra, or to Svetlanov (even though he is let down by the poor recording for his "Sleeping Beauty"). With Pletnev you hear nothing but glassy strings, while often there is a whole brass section of 4 trumpets, 3 trombones and a tuba behind it. These guys are supposed to blow their lungs out (and in "Beauty" there are quite a few passages where this happens), yet most of the time it sounds as if they were on leave. A complete non-event to my mind.

I hope, Silvy, you now know which recording to buy... :helpsmilie:

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Hi Cygnet!

I have the Suite recording of Previn's 1972 NUTCRACKER and it is nice. But my hands down favorite recording of this ballet is the soundtrack to Baryshnikov's 1977 tv film co-starring Gelsey Kirkland. I bought the 2 LP set right after watching the original broadcast and it's a magnificent recording. All the tempi are easily danceable, the National Philharmonic -- which sounds weak in the Bonynge/SLEEPING BEAUTY cd -- sounds rich, and all the playing is expert. And, above all, conductor Kenneth Schermerhorn brings out the magic and drama of the score superbly. The interpretation of the Act II PDD is a masterpiece all by itself: intensely romantic and Schermerhorn's buildup to the climaxes are gorgeous. Unfortunately, the recording is out of print and never made it to the cd format. So my LPs are precious indeed.

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Now I am totally confused :sweating:

Seriously speaking I already have 2 recordings: 1 is the Previn version, in CD (too quick in some passages, especially variations. He also repeats the diagonal in some of the variations - notably Aurora's - which I do not do while dancing)

Regarding Concertgebouw, it also has the same problem for me.

And regarding copying the music from video, the problem is applause....

Silvy

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Now I am totally confused :sweating:

Seriously speaking I already have 2 recordings: 1 is the Previn version, in CD (too quick in some passages, especially variations.  He also repeats the diagonal in some of the variations - notably Aurora's - which I do not do while dancing)

Regarding Concertgebouw, it also has the same problem for me.

And regarding copying the music from video, the problem is applause....

Silvy

Silvy, I found an old recording that may work for you. Look for John Lanchbery's version with the Philharmonia Orchestra (1982). He did all three Tchaikovsky ballets for what was called the du Maurier collection. It may be out of print now. It has a forward by Margot Fonteyn. Although Lanchbery conducts the Intro and Marche from the Prologue at 180 mph, but the Pas de six, and important highlights

in the subsequent three acts are conducted as if he's following feet at Covent Garden :P . Slow enough I think. Its an inferior performance compared to the ones mentioned above in this thread. I checked out Dorati's Concertgebouw version from the library this past weekend and yes, the variations are fast. Dorati conducts the work extremely well, and the brass section is very animated and clearly emphasized. I can't find fault with it except for his tempi, which is a matter of preference. Good luck!

Edited by Cygnet
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