Prokofiev’s ballet Sur le Borysthène (On the Dnieper), the story of a violent but not tragic romantic triangle, was composed soon after his 1930 Fourth Symphony (itself based on another ballet, the Prodigal Son). The ballet is quite similar to the symphony in overall musical style–meaning you’ll hear all the standard Prokofievian elements: abrupt contrasts, driving rhythms, exuberant dances, and ever-titillating orchestration, this last quality put to much use by Michail Jurowski and the Cologne Radio Symphony in their virtuosic and engaging performance. What the work doesn’t have is tunes–there’s nary a memorable melody in the piece, which is strange coming from a composer of such abundant lyrical gifts. So, what were left with is a collection of dances and dramatic sequences that will be of interest primarily to those who just like that “Prokofiev sound”, or to students of his compositional method.
The Semyon Kotko Suite draws heavily on the opera’s lyrical passages, of which there are quite a few, such as the poignantly beautiful melody that opens the work. While the suite doesn’t provide much of an aural narrative of the opera’s events, it’s nonetheless nice to hear this music free of the socialist-realist proselytizing that comprises much of the libretto.
Finally, this rendition of the thrice-familiar Lieutenant Kijé Suite is distinguished by the inclusion of sung texts in the inner movements (as is the case on Slatkin’s recording). Boris Statsenko performs with alternating solemnity and bluster as the music requires, while Jurowski and his players provide a lively realization of the orchestral score. CPO’s atmospheric recording provides solid imaging and impact amid a spacious acoustic.
