THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Saturday, November 2, 1996 TAG: 9611020324
SECTION: LOCAL PAGE: B5 EDITION: FINAL
TYPE: Music review
SOURCE: BY PAUL SAYEGH, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: 49 lines
The Virginia Symphony took a headlong plunge into the world of movie music Friday evening with the presentation of the classic 1930s Russian film ``Alexander Nevsky.''
JoAnn Falletta led the orchestra, the Virginia Symphony Chorus, and mezzo-soprano Malin Fritz in a performance of Prokofiev's score for this epic, while a restored version of the picture was shown at Chrysler Hall.
Movie music has always been regarded as something of a stepchild. When it is performed at all, it is usually as part of ``Pops'' concerts. Yet the list of famous composers who have been attracted to writing for films is a long one, and filled with some of the most famous names in modern music.
Prokofiev's ``Alexander Nevsky'' is no stranger to the concert hall, but it is usually heard in an edited version, minus the film. It is only in the last few years that film restoration techniques have allowed the simultaneous performance of movie and score.
As a film, Eisenstein's ``Alexander Nevsky'' seems hopelessly dated and stylized - for about the first 10 minutes. Then, the director's ability to fill his epic with real characters and to make the audience interested in them takes over.
Throughout, Prokofiev's music adds tremendously to the tempo and rhythm of the movie. The famous ``Battle on the Ice'' sequence would be hopelessly long were it not for the musical score that keeps it moving forward.
The music is Prokofiev on his way to the lush lyricism of his ballet music, not yet having shed all the abrasiveness of his earlier style. The Virginia Symphony played it superbly, especially the hard-working percussion and brass sections. The orchestra achieved an impressive depth and resonance of tone.
Contributing to the success of the performance was the Virginia Symphony Chorus, which sang with vigor and full tone. As half the chorus was behind the screen, amplification must have been a necessity, and this led to a somewhat artificial balance with the orchestra.
Mezzo-soprano Fritz was the soloist in the moving ``Field of the Dead.'' Her voice has the dark, rich quality in its lower register needed for such typically Slavic music.
JoAnn Falletta's control of the production was masterful - the film came to life in a way impossible to achieve in a regular theater.
One of the frequent complaints about symphony concerts is that they are too staid and formula-ridden. There was certainly nothing formulaic about this concert, which represented a bold move by the Virginia Symphony to present an aspect of classical music that is uniquely of our century. by CNB