Bamberger Symphoniker; Jose Serebrier - P. I. Tchaikovsky - Shakespeare: Hamlet; The Tempest; Romeo and Juliet (2002)

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Bamberger Symphoniker; Jose Serebrier - P. I. Tchaikovsky - Shakespeare: Hamlet; The Tempest; Romeo and Juliet (2002)

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What a good idea to couple Tchaikovsky's three fantasy overtures inspired by Shakespeare. José Serebrier writes an illuminating note on the genesis of each of the three, together with an analysis of their structure. He notes that once Tchaikovsky had established his concept of the fantasy overture in the first version of Romeo andJuliet in 1869 – slow introduction leading to alternating fast and slow sections, with slow coda – he used it again both in the 1812 Overture and Hamlet. The Tempest (1873) has similarly contrasting sections, but begins and ends with a gently evocative seascape, with shimmering arpeggios from strings divided in 13 parts.

It's typical of Serebrier's performance that he makes that effect sound so fresh and original. In many ways, early as it is, this is stylistically the most radical of the three overtures here, with sharp echoes of Berlioz in some of the woodwind effects. The clarity of Serebrier's performance, both in texture and in structure, helps to bring that out, as does a warm and analytical BIS recording. Hamlet, dating from much later, is treated to a similarly fresh and dramatic reading, with Serebrier bringing out the yearningly Russian flavour of the lovely oboe theme representing Ophelia. He may not quite match the thrusting power of his mentor, Stokowski, but he's not far short, and brings out far more detail. Serebrier is also meticulous in seeking to observe the dynamic markings in each score. Those in The Tempest are nothing if not extravagant – up to a fortissimo of five fs in the final statement of the love theme – yet Serebrier graduates the extremes with great care. Highly recommended.

Gramophone Classical Music Guide, 2010

First the bad news: Serebrier’s Romeo and Juliet suffers from a plodding tempo in its allegro “fight” sections, and from a consequent lack of tension, particularly at the big climax where the love theme returns amid the surrounding orchestral hullabaloo. The conductor also keeps the timpani rolling through the final bar, which is not what Tchaikovsky wrote, and as so often happens in these cases the printed score offers the superior alternative.

Now for the good news: Hamlet and The Tempest are extraordinary. Hamlet, in particular, has all of the violence and passion lacking in Romeo and Juliet, with a tremendous introduction capped by hugely dramatic tam-tam crashes and a sensitively played account of the work’s elusive lyrical episodes. Tchaikovsky needs that “over the top” quality, and Serebrier offers it here in abundance. The same holds true for The Tempest, whose seascape textures shimmer as they must, and whose momentum surges forward without a single dead spot or fluctuation. Sonically (and don’t ask me why) these two works also have more impact than Romeo and Juliet: they are stunningly recorded. So if you’re in the market for some rare Tchaikovsky, I’d snap this up without hesitation.

Review by David Hurwitz, ClassicsToday.com

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Bamberger Symphoniker; Jose Serebrier - P. I. Tchaikovsky - Shakespeare: Hamlet; The Tempest; Romeo and Juliet (2002)

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Bamberger Symphoniker; Jose Serebrier - P. I. Tchaikovsky - Shakespeare: Hamlet; The Tempest; Romeo and Juliet (2002)

Close

×

Bamberger Symphoniker; Jose Serebrier - P. I. Tchaikovsky - Shakespeare: Hamlet; The Tempest; Romeo and Juliet (2002)

Close