Aside from the familiar Overture, Nocturne, Scherzo, and Wedding March, Mendelssohn’s Midsummer Night’s Dream consists of a few songs and a number of barely interesting trifles and repetitive sequences–perfectly defining the term “incidental music”. Still, the score enchants by its nocturnal magic, much of which Christian Pollack manages to convey despite his rather safe approach to tempo and inflection–that is, don’t look for the quicksilver rush and effervescent sparkle of Peter Maag with the London Symphony, or George Szell with Cleveland (suite only). This may have to do with the Razumovsky Symphony’s less than world-class virtuosity, especially as compared to the competition. However, the musicians compensate with a palpable warmth that reveals their obvious commitment to and love for Mendelssohn’s music. The same qualities are demonstrated by Adrianna Kohútková, Denisa Šlepovská, and the Slovak Philharmonic Women’s Chorus, who enliven the vocal selections with ample color and light.
Kohútková also shines in Mendelssohn’s dramatic concert aria Infelice, in which a scorned woman laments her pitiful situation in venom-spitting prose. This Mendelssohn rarity makes for a uniquely pleasurable conclusion to the program, and is recorded in clear, well-balanced sound by Amadis.
