Stravinsky: The Firebird (L'oiseau de feu) - SACD

“The playing on this disc from Andrew Litton and the Bergen Philharmonic is in many ways marvellous, with a good sense of pace throughout much of the ballet. Recorded sound is sensational, especially in surround...The caveat, though, is that...there is much excellent music-making but not such convincing drama.” BBC Music Magazine, May 2012 ***

“Litton allows [The Firebird] more delicacy than some of its later interpreters, to its great advantage in such moments as the very opening...If Kashchey has sounded more formidable in the hands of others (including the composer himself), Litton gives the old sorcerer a spectral quality that is at least as sinister. It is all beautifully played, not least thanks to a woodwind section of players who really listen to one another.” Gramophone Magazine, June 2012

“the fine grain of the recording ensures that nothing in this remarkable score is missed; the Bergen orchestra really is a very fine ensemble these days. Yet too often it's hard to believe that this is a work that was intended for the theatre” The Guardian, 29th March 2012 ***

“A Jansons performance has all the comfort and security of travelling in a high-class limousine. There's still much to admire, of course, especially the woodwind playing in The Firebird, while The Rite is just a little too well manicured. If you didn't know the ballet, you'd hardly guess that this is a depiction of a pagan ritual that ends in a human sacrifice; one longs for something a bit more visceral, more dangerous.” The Guardian, 4th July 2008 ***

“The Royal Concertgebouw Orchestra has always traded on the subtleties of its instrumental sounds, which has made it ideal for interpreting such widely diverse music as Bruckner and Ravel. It puts this distinctive colour to good use in Stravinsky's Rite of Spring, reminding us that there is far more to the work than the crash, bang and wallop of its climactic dances.” The Telegraph, 12th July 2008

“The luminous colours and weightless harmonies of the Firebird sit more comfortably with the cultured Concertgebouw than the hard-edged primitivism of the Rite of Spring. The fragrance of the "Ronde des princesses" with its leading oboe and echoing cello and bassoon lines is exquisite.” Gramophone Magazine, September 2008

“This striking SACD provides remarkably highcalibre recordings: both works sound pretty marvellous played back through normal CD equipment. But if you have a good four-speaker system and set the rear volume level gently and judiciously, the sound is almost unbelievably realistic. Indeed, this Flemish performance of The Firebird is one of the finest orchestral recordings of recent years. Stravinsky's vivid scoring lends itself to demonstration sound.
Moreover, the music is miraculously well played.
Yoel Levi's totally idiomatic and involving reading, though not lacking drama, is warmly relaxed and evocatively atmospheric, with the Flemish orchestra playing with ravishing sensitivity.
Orchestral textures are delectably diaphonous and transluscent: everything seems to be in a magical haze, with iridescent colouring at the 'Appearance of the Firebird', while the music for the 'Enchanted Princesses' is exquisitely tender.
Arguably the piano-pianissimo opening is a little too quiet but the ear soon revels in the wide range of playing and sound: the whole progression of infernal music for Kashchei brings some quite astounding sounds. For the great closing rejoicing, the lovely horn melody seemingly appears out of the mist, and the climax builds slowly and magically until the brass enter. Then Levi pulls back a little, creating a spacious, no less involving, climax.
In Song of the Nightingale, the orchestra again play with refinement and beauty, especially at the close. The extra dimension of the Glossa recording makes one feel the orchestra really is out there, beyond the speakers.” Gramophone Classical Music Guide, 2010

“…this Flemish performance of The Firebird is one of the finest orchestral recordings I have heard. Moreover, the music is miraculously well played. Orchestral textures are delectably diaphanous and translucent: everything seems to be in a magical haze, with iridescent colouring at the 'Appearance of the Firebird', while the music for the 'Enchanted Princesses is exquisitely tender. In Song of the Nightingale, the atmospheric Flemish version is similarly telling, the orchestra again playing with refinement and beauty, especially at the close.” Gramophone Magazine, September 2006