Prokofiev: Peter and the Wolf
Viola Davis, narrator; Los Angeles Philharmonic Orchestra/Gustavo Dudamel
Deutsche Grammophon 4868159 (EP, WAV download only)
I really ought to listen to Peter and the Wolf more often. It's tagged, unfairly, as a children's piece, but, performed with a modicum of sophistication, it's charmingly entertaining.
Here in New York, the Philharmonic has welcomed the Dude Maestro Dudamel – not Jeff Bridges – with open arms, but it's still good to see him maintaining ties with his previous orchestra in Los Angeles. Since he burst onto the scene as the young, innovative creator of Venezuela's La Sistema orchestral training for children, it's hard to remember that he's no longer the young firebrand of the '00s, but a grounded, experienced conductor in his forties.
In terms of youthful energy and commitment, however, he's still got it. Even excellent conductors – Previn (EMI), for example – frequently content themselves with straightforward, musical phrasing and keeping everything in order. Mr. Dudamel's more attentive, fine-tuned approach heightens the score's pictorial aspects.
Peter's theme, in the strings, is particularly smooth and warm. Later on, the interplay of the bird (flute) and duck (oboe) is amusing After Grandfather's weighted theme in the bassoon, Peter's music returns, faster and lighter. The Wolf's greedy eyes, as per the narration, sound particularly ominous; the following passage (track 9) highlights the interplay of wind and string parts. The hunters' entry has point and weight, and, after the Wolf is shot, the waltz reprise of Peter's theme goes with a nice lift.
About the narration, I wasn't so sure. I've only seen Viola Davis in rather serious roles, and I couldn't quite imagine her as the requisite genial storyteller. Indeed, despite the audience's rousing ovations – the recording was made in concert – her manner initially struck me as severe. She does gradually relax into her role, or perhaps I just got used to her; and her delivery sets up some important spots in the musical narrative, as when the bird, causing a distraction, flies wildly around the wolf.
Overall, musically exceptional and dramatically worthy. The sonics are vivid, though the solo reeds – flute, oboe, bassoon – come along with an ambience that I didn't notice in tutti. I imagine – I hope – that the EP is being offered at a reduced price; at least you won't be saddled with another Classical Symphony, Young Person's Guide, or such.
