These two excellent performances have in common the fact that they were both made by two exciting young conductors toward the start of their respective careers, and although both have gone on to further impressive achievements, it’s probably fair to say that neither has ever quite recaptured the excitement of his early work. This is particularly true of Michael Tilson Thomas, who had the inestimable advantage of working with the Boston Symphony at the top of its form. This is one of the great Rites, and certainly the best one made in Boston (along with Monteux’s which is compromised by somewhat limited mono sonics). The conducting is unfailingly exciting, culminating in a blistering Sacrificial Dance, but the playing is also amazingly beautiful (without ever turning bland) and somehow still “French”–meaning sharp, clear, well-balanced, and meticulous as only this ensemble in its prime could be.
Dutoit’s Petrushka, here in its original scoring, is surprisingly lyrical, with the folk-influences in the two outer tableaux particularly well caught. There are rhythmically crisper versions around, but Dutoit is hardly lax in this respect, and he captures the earthy spirit of the piece extremely well, aided by a responsive LSO. There’s a lot to be said for conductors working with an orchestra over time, but sometimes an inspirational guest working with a top-notch ensemble brings a welcome degree of freshness and excitement, and that’s just what happens in both of these performances. Thomas also offers a bonus in the form of the rarely heard, Scriabinesque cantata King of the Stars, just as well done as the Rite. The engineering is perfectly fine and never compromises the performances. This on-demand production from Arkivmusic.com deserves a home in any serious Stravinsky collection.
