Scores of vivid soundscapes

Published: Sunday, May 2 2004 12:00 a.m. MDT

PAAVO JARVI, CONDUCTOR, CINCINNATI SYMPHONY ORCHESTRA; Stravinsky: "Petrouchka;" Suite from "The Firebird;" "Scherzo a la Russe" (Telarc)** 1/2

MARY DUNLEAVY, SOPRANO; ELIZABETH BISHOP, MEZZO-SOPRANO; STEPHEN GOULD, TENOR; ALASTAIR MILES, BASS; DONALD RUNNICLES, CONDUCTOR, ATLANTA SYMPHONY ORCHESTRA AND CHORUS: Beethoven, Symphony No. 9 (Telarc)**

GERARD SCHWARZ, CONDUCTOR, ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA; Alan Hovhaness: "Mysterious Mountains" (Telarc)***

• Conductor Paavo Jarvi is steadily solidifying his relationship with the Cincinnati Symphony Orchestra, of which he's been music director since 2001. Jarvi is a fine conductor who often tends to understatement in his interpretations rather than going for effect. In doing so, Jarvi frequently brings more depth and perceptiveness to the scores. But occasionally, his approach leaves something to be desired.

That is the case with the two Stravinsky ballets on Jarvi's recent CD. In "Petrouchka," Jarvi gives a rich, impressionistic reading that captures the colors, sonorities and nuances of the music. At the same time, the performance lacks potency and drive.

The opposite, however, is true in the Suite from "The Firebird." Jarvi gives a captivating and riveting account of the score and creates a vivid soundscape. But that is undermined by the deliberate pace and the occasionally somewhat stiff execution.

The album is rounded out with a delightful performance of the "Scherzo a la Russe," a reworking of a piece that was originally intended for a Hollywood World War II propaganda film. (Aaron Copland eventually ended up writing the soundtrack.)

• The Atlanta Symphony's principal guest conductor Donald Runnicles doesn't show his best side in Telarc's recording of Beethoven's Symphony No. 9. A work that's been recorded as often as the Beethoven needs some convincing arguments for committing it to disc yet again, and Runnicle's interpretation doesn't offer much in that regard.

What saves this performance, though, is the singing in the last movement. The talented quartet of soloists sounds wonderful, in particular tenor Stephen Gould, who simply shines, especially in the vocally challenging "Turkish" variation.

The Atlanta Symphony Chorus is magnificent as well. It was founded in 1970 by Robert Shaw. Chorus master Norman Mackenzie carries on the tradition of exquisite choral singing established by the late maestro.

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