Information
Composer: Ottorino Respighi
São Paulo Symphony Orchestra
John Neschling, conductor
Date: 2010
Label: BIS
http://bis.se/composer/respighi-ottorino/respighi-roman-trilogy
- (01) Fontane di Roma
- (05) Pini di Roma
- (09) Feste Romane
São Paulo Symphony Orchestra
John Neschling, conductor
Date: 2010
Label: BIS
http://bis.se/composer/respighi-ottorino/respighi-roman-trilogy
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Respighi’s Roman spectacular benefits from fine SACD sound
It is good to welcome a South American orchestra in a recording and performance as rich and spectacular as this. It may seem bold of BIS to rely on a relatively untried orchestra and its Brazilian conductor but such confidence has amply paid off. The Fountains of Rome (1915‑16) was the work which first established Respighi as a master of orchestration. Yet it was only when Toscanini, a lifelong admirer of the composer, took the work up in 1918 that its qualities came to be fully realised. Designedly, it is a musical picture postcard, with each of the four linked sections warmly evocative in describing first the fountains of the Valle Giulia at dawn, of the Tritone at midday, of the Trevi in the afternoon and of the Villa Medici at sunset.
The spectacular BIS recording in SACD brings out all the atmospheric qualities, as it does in the second and most popular work of the Trilogy, The Pines of Rome (1924). The opening movement, “The Pines of the Villa Borghese”, opens gloriously with a shimmering from the full orchestra, while the third of the four sections, “The Pines of the Janiculum”, introduces what was regarded as radical at the time, the sound of a nightingale singing, originally on an old 78rpm disc. The recording now is much more faithful, though on this disc the sound is too distant to make its full mark. The final section, “The Pines of the Appian Way”, involves heavy brass in illustrating the tramp of Roman legions.
The final work of the Trilogy, Roman Festivals (1928), is at once the longest, most ambitious yet least inspired of the three. Even so, in a brilliant performance such as this one, helped by spectacular sound, it is highly enjoyable. The first section illustrates gladiatorial combat in the Roman Circus, and the final section brings a riot of sound in “La Befana” (“The Epiphany”), with clashing rhythms one against the other, and with even a hint of a tarantella. It makes a splendid conclusion to a highly enjoyable disc.
From the days of LP even so fine a version of all three sections as that from Ormandy and the Philadelphia Orchestrta cannot compete against the claims of the finest of modern digital versions, as presented here, though Yan-Pascal Tortelier’s Chandos version is on balance even finer, if not on SACD.
-- Edward Greenfield, Gramophone
More reviews:
ClassicsToday ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
MusicWeb International RECORDING OF THE MONTH
It is good to welcome a South American orchestra in a recording and performance as rich and spectacular as this. It may seem bold of BIS to rely on a relatively untried orchestra and its Brazilian conductor but such confidence has amply paid off. The Fountains of Rome (1915‑16) was the work which first established Respighi as a master of orchestration. Yet it was only when Toscanini, a lifelong admirer of the composer, took the work up in 1918 that its qualities came to be fully realised. Designedly, it is a musical picture postcard, with each of the four linked sections warmly evocative in describing first the fountains of the Valle Giulia at dawn, of the Tritone at midday, of the Trevi in the afternoon and of the Villa Medici at sunset.
The spectacular BIS recording in SACD brings out all the atmospheric qualities, as it does in the second and most popular work of the Trilogy, The Pines of Rome (1924). The opening movement, “The Pines of the Villa Borghese”, opens gloriously with a shimmering from the full orchestra, while the third of the four sections, “The Pines of the Janiculum”, introduces what was regarded as radical at the time, the sound of a nightingale singing, originally on an old 78rpm disc. The recording now is much more faithful, though on this disc the sound is too distant to make its full mark. The final section, “The Pines of the Appian Way”, involves heavy brass in illustrating the tramp of Roman legions.
The final work of the Trilogy, Roman Festivals (1928), is at once the longest, most ambitious yet least inspired of the three. Even so, in a brilliant performance such as this one, helped by spectacular sound, it is highly enjoyable. The first section illustrates gladiatorial combat in the Roman Circus, and the final section brings a riot of sound in “La Befana” (“The Epiphany”), with clashing rhythms one against the other, and with even a hint of a tarantella. It makes a splendid conclusion to a highly enjoyable disc.
From the days of LP even so fine a version of all three sections as that from Ormandy and the Philadelphia Orchestrta cannot compete against the claims of the finest of modern digital versions, as presented here, though Yan-Pascal Tortelier’s Chandos version is on balance even finer, if not on SACD.
-- Edward Greenfield, Gramophone
More reviews:
ClassicsToday ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
MusicWeb International RECORDING OF THE MONTH
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Ottorino Respighi (9 July 1879 – 18 April 1936) was an Italian composer and musicologist. He is best known for his orchestral music, particularly the three Roman tone poems: Fountains of Rome (Fontane di Roma), Pines of Rome (I pini di Roma), and Roman Festivals (Feste romane). His musicological interest in 16th-, 17th- and 18th-century music led him to compose pieces based on the music of these periods. Although Respighi was known primarily as composers of instrumental and orchestral music, he also wrote a number of operas, the most famous of which is La fiamma.
https://en.wikipedia.org/wiki/Ottorino_Respighi
https://en.wikipedia.org/wiki/Ottorino_Respighi
***
John Neschling (born May 13, 1947 in Rio de Janeiro) is a Brazilian orchestral and operatic conductor. He studied conducting under Hans Swarowsky and Reinhold Schmid in Vienna and under Leonard Bernstein and Seiji Ozawa in Tanglewood. Later, he won several international conducting competitions. Neschling was music director and chief conductor of the São Paulo State Symphony from 1997 to 2008. During the twelve years under his leadership, the OSESP became a first rate international orchestra, and recorded a series of CDs, winning 5 Diapason d'Or and one Latin Grammy.
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