This Prokofiev compilation from Deutsche Grammophon's new Panorama "twofer" series (two discs for the price of one) receives a 10/10 rating on the basis of the second disc alone, which contains the legendary 1967 Martha Argerich performance of the Third Piano Concerto and Lorin Maazel's unjustly neglected traversal of the mighty Fifth Symphony. Yes, DG has borrowed this Cleveland Orchestra performance of the symphony from Decca's late analog archives, and what a wise choice it proves to be. Not only is it superbly recorded, but also the Clevelanders provide the kind of lean and mean execution that Prokofiev's epic yet thorny writing cries out for. High strings, low brass, and percussion all play with a precision and clarity that comes across as simply audacious. Maazel's conducting of the symphony begins ordinarliy enough, but about seven minutes into the first movement the energy builds and never relaxes until the very end of the Finale. As a bonus, you'll never hear the complicated percussion writing in the finale's coda section played so alertly as it is here.

Martha Argerich's 1967 performance of the Third Piano Concerto may sound somewhat dated when compared to her recent EMI remake, but it's still a major contender for top billing. It's also an excellent choice for beginning the second disc, which includes, between the concerto and symphony, Sviatoslav Richter performing three short movements from Visions Fugitives. Unfortunately, Disc 1 isn't so ideally programmed. Although Claudio Abbado's lithe and balletic Chamber Orchestra of Europe offering of the Classical Symphony (Symphony No. 1) does make an appropriate start, from there the program loses purpose with a dry-sounding First Violin Concerto (albeit expertly played by Schlomo Mintz), followed by eight scenes from Rostroprovich's idiomatically conducted but badly recorded Suites from Romeo & Juliet.

The disc concludes with only the "Field of the Dead" vocal movement from Abbado's outstanding LSO recording of Alexander Nevsky--a rousing and nearly overwhelming cantata that Prokofiev distilled from his film score for the once famous Eisenstein movie. The irony here is that the vocal movement is the only less-than-great moment from Abbado's performance, due mainly to the shrill and ungracious singing of mezzo Elena Obraztsova. Certainly, it would have been far more attractive if DG had simply programmed Abbado's complete Alexander Nevsky immediately after the Classical Symphony. Then again, why complain when the second disc alone is worth the price of admission? Just be sure to get yourself a complete recording of Alexander Nevsky as a supplement to DG's panoramic overview.

--Barry Guerrero