Whether Yevgeny or Evgeny, and ICA manages both between annotation and CD readout, Svetlanov (1928-2002) is always Svetlanov – big and bold, something of a showman if capable of musical revelations. From a Royal Festival Hall concert (March 15, 2001), the Philharmonia gives us dramatic and edgy Tchaikovsky, insubstantial in one sense but a compelling opener to what is a marvellous if tragic opera. On the night (I was there if not reviewing, but see below) it was Faune that left the biggest impression – “spacious” (presentation puff), yes, and also Celibidachian (I enjoyed writing that) for there’s no escaping the great Romanian maestro here, not as an influence but as an unavoidable reference – Svetlanov’s control of the music’s growth (launched by Kenneth Smith’s magic flute) is sustained and masterly, inevitable. La mer (of which ICA already has a Svetlanov LSO version) is less certain, while certainly being a collector’s item, an elemental reading (timpanist Andrew Smith never knowingly underplayed) if not without some doubts: inside-out balances from 6’11” in the first movement, jerky transitions in the second, and a messy ending to the final one. But the bigger picture is a colourful sense of theatre that rewards attention, not least the stentorian trumpets doing justice to including the ad lib fanfares in the Finale (from 7’34”). Throughout, the Philharmonia is caught up in Svetlanov’s oceanic approach. Similarly, the BBCSO in two of Respighi’s superb orchestrations of Rachmaninov Études-Tableaux, of which ‘The Sea and the ‘Seagulls’ (Opus 39/2) emerges as an ominous relation to The Isle of the Dead, and the LSO enjoys the quirky, teasing and appealing Prokofiev. Svetlanov souvenir-hunters needn’t/shouldn’t hesitate especially with excellent sound (remastered by Paul Baily) throughout. ICAC 5181 is released on January 10.
https://www.classicalsource.com/concert/philharmonia-orchestra-concert-15th-march