I'm definitely a fan of Prokofiev, though I wouldn't consider myself an ardent follower or especially well-versed on the definitive recordings of his works. Most of my Prokofiev music is on vinyl, though I do not have Romeo & Juliet on vinyl (a shortcoming in my library that I will soon rectify). The only recording of one of my favorite ballets that I had was a Decca CD of Lorin Maazel leading the Cleveland Orchestra. I very much enjoy Maazel's reading, but was interested in adding a few other recordings to my library.
I bought this recording of Valery Gergeiv conducting the London Symphony Orchestra last week and gave it a listen a few nights ago. I like a lot of what Gergeiv has been doing. His schedule is extrememly crowded with a lot going on, and my only real concern is whether he is giving himself enough time to really immerse himself in his projects. My first exposure to him was with his Shostakovich and Tchaikovsky recordings for Philips. I was saddened to see that relationship fall through because the Shosty recordings weren't completed. But Gergiev wasn't deterred, and continues that work on the Mariinsky label that he formed in 2009 with the Mariinsky Orchestra. I have yet to sample these Shosty recordings, and will do so soon, but I have listened to the Gergeiv/Mariinsky recording of Rachmaninov Piano Concerto No. 3 and Rhapsody on a Theme of Paganini featuring Denis Matsuev and really enoyed it.
Getting back to this LSO recording, I have to say that this is the first Gergeiv recording that I have bought that really disappointed me. A great deal of my dissatisfaction stems from what I would call a lack of passion and fire in the performance. It really sounded like Gergeiv was simply putting the orchestra through its paces because there was someplace else he needed to be. Perhaps it was merely an off night. But this reading doesn't hold a candle to the Maazel recording. Moreover, the thing that equally sinks this recording is the poor sonics. After the first listen I came away from the experience thinking the strings sounded very flat, lifeless even, and the bottom end was boomy with no real definition. A bass drum should not simply sound like a thud, and that is exactly what it sounds like here. I don't know if it was the microphones or mic placement, but the sonics were just as disappointing as the performance.
My suggestion is that if you are looking for a great reading of Prokofiev's Romeo & Juliet then look elsewhere. This one doesn't measure up.
--Jerome
