Visions Of Prokofiev

IExcellent, beautiful recording. Great service.

No argument about B's performance, but the two concerti are "random" music -- shifting from one musical idea to another, no connecting tissue. One gets bored, then vexed by it.

As a preface to this review I will point out that the single star review from amazon.com is incomprehensible to me and presumably refers to a glitch in the download process. My review refers to the CD.It seems that in order to secure contracts with the major recording companies-and indeed concert promoters-female artists who have a degree of physical allure stand the best chance!I would observe that in some cases I can think of, the physical attributes exceed the artistic ones, but certainly not in the case of Lisa Batiashvili who is a beautiful artist in every respect.I hope that she will forgive the over familiarity if I refer to her henceforth as Lisa-this is simply to reduce the risk of misspelling her surname as I have already had several failed attempts!This disc is a wonderful companion to her earlier “Echoes of Time” collection which featured the music Shostakovich, Kancheli and Pärt among others.This disc is best taken as a performance of the 2 Prokofiev Violin Concertos with 3 “ Lollipops,” as Beecham termed them, in the form of encores arranged for solo violin and orchestra by Lisa’s father Tamas, himself a noted violinist and musicologist.Now based in Germany (since age 12), Lisa is accompanied on this disc by another German orchestra following her recordings with the BRSO and Berlin Staatskapelle, this time the Berlin based Chamber Orchestra of Europe under newly risen star Nezet-Seguin.I can cut to the chase-the word to sum up this collection is-sublime!Of course, I LOVE the 2 concertos, particularly the Second and Lisa not only does them both justice, she elevates them to sublime heights.This is achieved by a combination of breathtaking virtuosity and exquisite beauty of tone, her Guarnerius producing a richer tone than a Strad at the lower end of the scale, and a silverine beauty in the upper stratosphere such as to match any instrument.Of course, this would pass for nothing if the interpretations were not of the finest, most insightful quality, which happily they are.Prokofiev was careful not to pit his soloist against a massed phalanx of instruments, and the scoring IS for a larger chamber orchestra-2 horns, 2 trumpets, single woodwinds but full strings.The first concerto, composed and revised between 1915 and 1923 is the more revolutionary, reflecting the period when Prokofiev could not decide whether he was Stravinsky, Schoenberg or Tchaikovsky and really comes to life in the final Moderato movement.The Second from 1935 reflects the Prokofiev who had found his true voice, and being broadly contemporary with the composing of Romeo and Juliet has assonances with that glorious work, and is rich in flowing melodic invention especially in the second movement.Lisa is at her glorious best in this movement, but scarcely less so in the Spanish pastiche that is the third movement, with obvious influences of Shostakovich in the development, but with its dancing rhythms and castanets is a good natured festival.The intense, contemplative opening movement requires an exquisite sustained long line from the soloist, and Lisa genuinely takes the breath away! The three makeweights do not do that much for me-they are fun, enjoyable enough and certainly allow Lisa to “show off”-the Grand Waltz from Cinderella is particularly successful-but it would be a real curmudgeon who complained about their inclusion-not me in this instance!The recordings, engineered by DG veteran Rainer Maillard, are excellent, presentation is good and at the asking price this well filled disc is a bargain.I really love the Znaider/BRSO/Jansons recording of the Second Concerto and venerable recordings of both concertos by Kyung-Wha Chung and the late Lydia Mordkovitch are frequently played, but in truth I can think of no finer way to enjoy or discover these works than this release.5 Stars –and ignore the One Star Nonsense. Stewart Crowe.

私はバティアシュヴィリというヴァイオリニスト（グルジア出身）を特に好きではない。彼女のヴァイオリンの音が細めだからだ。だがこのプロコフィエフは気に入った。彼女の（タッチにおける）細かい「左手指の滑り」やアクセントや技巧、（解釈における）テンポ・音色の変化、リズム感、適切なデュナーミクは私の感覚をピクッとさせる。鮮やかと言うより精緻（←オケも含めて）。繰り返すがこのアルバムは音のディテールがよく聞こえる。ヤニク・ネゼ＝セガンの指揮が上手いからか...。バティアシュヴィリのプロコフィエフは若干大胆ではあるが流れが良い。ある意味、雄弁に作品の個性・歌・ある種の民族性を現す。このアルバムはこれまで私が聴いたプロコフィエフの中ではベストかも知れない（ただしヴェンゲーロフ＆ロストロポーヴィチ盤（ プロコフィエフ＆ショスタコーヴィチ：ヴァイオリン協奏曲第１番 、 プロコフィエフ＆ショスタコーヴィチ：ヴァイオリン協奏曲第２番 ）を除く）。私は、いつも「第２協奏曲の第３楽章（←この楽章は繰り返しが多くしつこい）」に退屈する。しかしバティアシュヴィリの同第３楽章は面白いと思った。若干グロテスクな同第３楽章に対するバティアシュヴィリの解釈は個性的で濃厚ではあるが、他のヴァイオリニストの演奏より短く聞こえた。ということは、ある意味、彼女の同第３楽章への微妙でユニークなアプローチは、他のヴァイオリニストより、もしかしたらあっさりしているのかも知れない。なぜなら、彼女の同第３楽章は、そろそろ退屈して来たら終わる。このアルバムは幻（Visions）であると同時に、私には精緻で明快な音の遊戯に聞こえた。録音は良いと思う。【私のオーディオ環境】TANNOY Stirling HW, LUXMAN L-560, marantz sa-7s1【収録情報】プロコフィエフ：1. 騎士たちの踊り（『ロメオとジュリエット』から）2. ヴァイオリン協奏曲第1番ニ長調 op.193. グラン・ワルツ（『シンデレラ』から）4. ヴァイオリン協奏曲第2番ト短調 op.635. 行進曲（『3つのオレンジへの恋』から）　ヴァイオリンとオーケストラのための編曲：タマーシュ・バティアシュヴィリ（1,3,5）　リサ・バティアシュヴィリ（ヴァイオリン）　ヨーロッパ室内管弦楽団　ヤニク・ネゼ＝セガン（指揮）　録音時期：2015年7月（2）、2017年2月（1,3,4,5）　録音場所：バーデン＝バーデン（2）、トゥールーズ（1,3,4,5）　録音方式：ステレオ（デジタル）（HMV.co.jp より） プロコフィエフ＆ショスタコーヴィチ：ヴァイオリン協奏曲第１番プロコフィエフ＆ショスタコーヴィチ：ヴァイオリン協奏曲第２番

Love Lisa Batiashvili... and Prokofiev. What more can I say? Highly recommended.