プロコフィエフのピアノ協奏曲第2番は、第1楽章は抒情的でありながら不気味な雰囲気のある奇妙な曲。ピアノのフレーズもポロンポロンとテクニックを見せるわけでもなく、静かに進行していく。そうしているうちにクライマックスを迎えるが、そこは凄い迫力だった。

第2楽章は速いテンポでスリリング。ここはピアノのテクニックの見せ所。ラナが高いテンションを維持しながらも見事な演奏を聴かせた。

第3楽章は諧謔味が利いているというか、ゴツゴツしてグロテスクな音楽。ユーモラスな所もあって面白い。

第4楽章は、いきなりオーケストラの絶叫で始まり、ピアノのアヴァンギャルドなフレーズが弾ける。静かになった中間部では奇妙な味わいがありながらも、しっとりとした美しいメロディも聴かれ、抒情的な雰囲気が味わえる。ロマンチックな味わいを残しながら、グロテスクに盛り上がっていき、大胆なオーケストレーションが炸裂する。盛り上げるだけ盛り上げて、最後は唐突に終わった。

チャイコフスキーは、ピアノ協奏曲としては超有名曲なので、ラナの真価が問われる曲だろう。第1楽章冒頭は期待どおりの豪華でスケールの大きい演奏。ここが貧相だと話にならない。最新録音で音がいいのも嬉しい。ヴォリュームをあげて演奏の豪快さを十二分に堪能できる。

静かな場面ではピアノ、オーケストラともに思い切って音量を落として、ロマンチックに沈んでいく思いを表現している。雰囲気たっぷりで、チャイコフスキーの美しいメロディに浸れる。ここは本当に密やかで神秘的ですらあった。

パッパーノが指揮する聖チェチーリア国立音楽院管も、ピアノに負けず劣らず劇的でスケールが大きい。激しいところでは情熱的に盛り上がり、静かな場面では雰囲気豊かに音を奏でる。とても語り口が上手くて、チャイコフスキーの音楽に合っている。

第2楽章もとても繊細で、表情豊かなピアノとオーケストラがメルヘンチックな世界を描き出している。クリスマスのような清らかな光景が眼前に現れるようだ。

第3楽章は音楽が生き生きと弾んでいる。パッパーノが凄い迫力でオーケストラを煽り立て、世界が爆発するかのような盛り上がりを見せる。ラナも負けじと冴えたテクニックを披露して一歩も弾かない。最後は手に汗握る高揚感で圧倒的に盛り上げて見せた。

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Insomy

Force te énergie

2023年4月14日にフランスでレビュー済み

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Voilà un beau programme dans une interprétation énergique, tendue voire parfois violente. on est décoiffé, surpris et finalement enchanté.

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Cliente Amazon

interpretazione bellissima di pezzi anche molto noti da non perdere

2023年2月23日にイタリアでレビュー済み

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Ovvio che il cd è arrivato nei tempi e nei modi professionali cui Amazon ci ha abituati
Consiglio molto questa incisione sia per il modo superlativo in cui Beratrice Rana interpreta Prokofiev, un concerto che anni fa era considerato quasi ineseguibile, sia anche per il molto più famoso concerto di Ciakowsky che insieme a Pappano risulta di lettura che "aggiune valore"

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PK

The most poetic interpretation of this concerto I have heard

2021年1月31日にカナダでレビュー済み

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Beatrice Rana is amazing. She finds so much poetry in this warhorse yet does not lose sight of its power to overwhelm. This is now one of my favourite versions of this concerto, alongside all-time greats like Van Cliburn and Richter.

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Kettle

Tchaik 1 standing tall...

2017年9月29日にアメリカ合衆国でレビュー済み

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In some quarters Tchaik 1 may be derided as an overexposed warhorse but to me it's just great music. I purposely don't gorge myself on the piece so whenever I actually do listen to it it always sounds fresh. And here Rana and crew give this piece exactly that: a fresh take.

There's nary a hint - anywhere - of a blasé attitude toward the piece, nothing which spells "WHY US LORD??". Rather, the concentration and intensity are of the highest order. Obviously everybody involved went into this project with 100% commitment, including the recording engineers. This is a stunner of a recording.

As far as pianist, for those familiar with Rana's playing there are no surprises here: her big, full sound is complemented by a keen dexterity, overlaying every big phrase with one delicate sub-phrase after another. It's remarkable how few pianists can play with this well-balanced mixture of "big" and "miniature". Of pianists of old the ones that come to mind are Fiorentino and Agustin Anievas, neither of whom recorded much (Anievas far less). (Latterly Cynthia Raim fits the bill but she records even less, still!).

Obviously, though, this is a collaborative affair. Pappano and orchestra walk the tightrope with Rana and hone the give-and-take to the tightest of tolerances. The Santa Cecilia orchestra has a full, rich sound yet it never swallows Rana, not that there's much worry of that anyway with her big sound. But the orchestra, too, is right in league with Rana in that they play "big" yet they don't shut out the finer details, with warmth, color, felicities, etc, at the ready. Everybody sounds well rehearsed and energetic with an eagerness which is infectious.

The sound is state-of-the-art.

(Haven't made it to the Prokofiev yet. Will update accordingly).

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S. Mitchell

Good though that was

2015年12月10日に英国でレビュー済み

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I had resolutely decided NOT to buy this disc. After all, my total collection of Tchaikovsky Number Ones runs into 3 figures, and I felt nobody could add anything that 100 other pianists over the last 65 years have already accomplished, from Horowitz onwards. And as I write this, I still have not heard the first 2 movements of the Tchaikovsky, only the Finale on the radio. Good though that was, I don't think I would buy this disc for that reason. The real thrill lies in the Prokofiev No. 2. This horrendously difficult work I have already collected in 28 different recordings, starting with Jorge Bolet and Shura Cherkassky from the 1950s. Both of these giants, however, abbreviated the formidable cadenza in the first movement , so could never be seen as first choices, only historical curiosities. The one I learned the piece from was the version recorded by Yakov Zak in the Soviet Union around 1960, and I'll always hold that in deep affection. It can be had on a CD transfer.
Over the years I've always pounced on new recordings and have relished many an awesome, jawdropping display of Prokofievian pianism from a range of big names. Now to this disc by Beatrice Rana. Something swayed me to buy it after some hesitation. The 2 acid tests are the colossal solo cadenza in the opening movement , then the brief second movement, a perpetuum mobile for the piano in rapid semiquavers which never lets up in its relentless career. It must be one of the most nightmarish tests of a pianist in the whole repertoire. Miss Rana passes both these tests with flying colours, and with the support of the fabulous Italian orchestra turns in an exhibition of transcendental mastery that defies belief, all the more so considering her youthful years. Quite simply, here is a performance to equal anything that has previously passed for a fine rendition of this fearfully challenging concerto. In fact , it shoots to the top of the list of great recordings of this magnificent, but grimly daunting work. The Tchaikovsky, then, is just a bonus. The miracle and supremely unbeatable standard is to be treasured in the Prokofiev. The great composer must surely be applauding among the angels at this realisation of his daring, early modernist inspiration which is the "PROKOFIEV NUMBER TWO."

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Prokofiev/Tchaikovsky: Piano C

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