Prokofiev: Alexander Nevsky—Reiner/Chicago Symphony/Analogue Productions vinyl reissue

Sergei Prokofiev’s score to the 1938 Sergei Eisenstein film “Alexander Nevsky” proved so popular that the composer arranged much of the score a year after the film’s premiere into a cantata for the concert stage, Alexander Nevsky, Op. 78, for contralto, chorus and orchestra. It is this version recorded here by Fritz Reiner and the Chicago Symphony Orchestra and Chorus.

This Layton/Mohr engineered/production was recorded in Orchestra Hall, Chicago, on March 7, 1959, and released on RCA Victor Living Stereo in 1960 (LSC-2395). You’ll notice from the cover the vocal soloist is a mezzo, not an alto, as directed in the score. The written part is more comfortable for a mezzo soprano’s range. Also, an inexcusable omission—the names of the Chicago Symphony Chorus and their world-renowned director Margaret Hillis from the cover (the chorus and director are named in small print on both sides of the record label). More egregious when you realize what an integral part the chorus has in conveying the famous 13th-century Russian story.

No matter contralto or mezzo-soprano, soloist Rosalind Elias has a suitably dark Russian sound. Unfortunately, the text is sung in English. This may be a non-starter for some. The wonderful chorus, however, is mixed amid the massive and very loud Chicago Symphony, making diction recognition a challenge. So, no harm, no foul.

US Mezzo Rosalind Elias of the Metropolitan Opera.

And though the chorus and soloist are excellent, the Chicago Symphony and Reiner are the stars in Prokofiev’s fascinating score. You’ll get the gist of the story and Prokofiev’s theatrical music from the opening track, “Russia under the Mongolian Yoke” followed a little later by the track everybody is here for, the fabulous “The Battle on the Ice”.

The playing overall is spectacular, but special mention must be made of the solo trumpet and tuba. Trumpet, of course, is long-time principal legend, Bud Herseth. The trumpets have the main, ominous low register chromatic motif in the “Battle” copied by so many modern film composers, especially James Horner. And the tuba the first main theme. Here, we get the very best in tuba sound and technique, played by the incomparable Arnold Jacobs.

Reiner’s tempos are perfect, and the orchestra’s corporate sound and technique are mesmerizing. The long cor anglais solos are played in one breath. Amazing control.

Fritz Reiner

I have not heard the original Shaded Dog, but this 2015 remaster by Ryan Smith from the original tapes is very dynamic and cut to 33 RPM. Reiner was a strict taskmaster who hired very well, and the orchestra sounds rich and resonant in the Orchestra Hall acoustic, but with great detail. And when Prokofiev goes full-on in the last few bars, there is no distortion on the 200-gram vinyl.

This gem deserves comparison with the previous benchmark, Claudio Abbado conducting the LSO, chorus, and Irina Arkihipova as soloist on DG (1980). Abbado pips Previn's famous EMI performance but not Previn’s recording. I’m happy to give a tie between the Abbado and Reiner. Abbado has the benefit of singing in Russian, and Reiner has superb vinyl sound. Take your pick.

I’ve been told by my Audiophilia colleague, Scott Wilson, that Analogue Sounds will probably not be repressing the Prokofiev. Buy while you can. If you treasure Lieutenant Kijé from the same sources, get Nevsky. You’ll love it.

Title: Sergei Prokofiev: Alexander Nevsky
Artist(s): Fritz Reiner & The Chicago Symphony Orchestra and Chorus
Rosalind Elias (Mezzo-Soprano)
Margaret Hillis, Chorus Director 
Recording Info: Recorded by RCA 1958 at Chicago Symphony Hall
Producer: Richard Mohr       Engineer: Lewis Layton