The Bolshoi Theater Orchestra’s strong Tchaikovsky tradition dates back to the 19th century, thus you’d expect its playing of his ballets to project a certain authoritative feel. That’s apparent in this rendition of The Nutcracker, but so is a dismaying rote quality to the playing. Granted, the requirements of the theater and concert hall are markedly different: the Bolshoi musicians’ usual task is to support the dancers on stage and propel the narrative–a function Alexander Vedernikov seems all too happy to fulfill. Contrast this with Antal Doráti who, despite his long ballet experience, knows how to make Tchaikovsky’s music exciting in its own right. Of course, he has the wonderful Concertgebouw Orchestra at his disposal, but even that does not give Vedernikov a valid excuse, as Valery Gergiev, with the similarly pit-based Kirov Orchestra, offers a quite exciting interpretation as well.
The whole of Vedernikov’s Scene 1 is uniformly bland, and ironically he comes to life at the big transformation sequence in Scene 2, where the brass blare in the traditional Russian manner. The following Mouse King battle is only mildly stimulating, but the intensity picks up again with Vedernikov’s beautifully textured and light-stepping Dance of the Snowflakes. Act 2 is generally very good, with energetic tempos and alert playing by the Bolshoi musicians, even though they don’t match the assertive and enthusiastic playing of the above-mentioned competition.
The stereo SACD has notable impact and clarity, but it doesn’t relay a solid impression of the performance space. The coupled Swan Lake excerpts and Eugene Onegin waltz are nice, if inconsequential additions. In the end, Vedernikov’s recording will appeal mainly to Nutcracker ballet completists and the usual holiday-season customer. Lovers of Tchaikovsky’s masterwork are directed to the listed reference recordings.
