What was Onyx thinking, releasing this right on the heels of JoAnn Falletta’s electrifying Naxos recording of this same theme and repertoire? It would be difficult for any recording to measure up with that still fresh in our minds. And to make matters worse, Hindoyan replaces Ibert’s Escales from Falletta’s program with the most unimaginative, uninteresting, tiresome and completely unnecessary choices possible: Ravel’s Bolero and Pavane. YAWN. That’s what everybody needs, right – yet another Bolero. Even Hindoyan seems fairly disinterested as he rushes through it in well under 15 minutes.1
So why this release? Surely the folks at Onyx are aware of what’s going on – who’s doing what; what’s being marketed by other labels, etc. So why aren’t they producing something innovative – like continuing their Music from the Americas series they started with Hindoyan last year with the wonderful Venezuela! release? That would be something we could use and would actually be interested in. But we got this instead.
I shouldn’t have bought this disc. Plain and simple. After all, I had just listened to the Buffalo Philharmonic playing the hell out of this music. And after Hindoyan’s gloomy, “live” Tchaikovsky 6th on Onyx’s previous release, I should have known better. For just as on that Tchaikovsky CD, Onyx has again underhandedly snuck in some older, live concert stuff with new session recordings on this new release as well. This seems to be the new modus operandi there at Onyx. Apparently they think no one will notice. Or care. Well I noticed. And I care. And I hesitate to buy any more CDs from these guys.2
So what kind of mish-mash did Onyx concoct this time? We get some Ravel from live concerts in 2022, and Chabrier and Debussy from session recordings in 2024. And in the title piece, Iberia, Hindoyan plays just the central portion of Debussy’s Images for Orchestra rather than the whole thing. Why? Why can’t we have all three Images? The other 2 would have been infinitely more interesting and musically rewarding than yet another loathsome, redundant Bolero that absolutely no one wants or needs. But, alas, Iberia is all of Debussy’s masterpiece we get.3
But Hindoyan starts the concert with the ubiquitous, bubbly Espana by Chabrier. Again, another unimaginative choice, as if just an afterthought to liven up the program with something trivial to fill out the disc. And Hindoyan dutifully plays it just that way. It sounds to be a quick read-through, sightread for the microphones without requiring much effort. Musically, it sounds like he’s trying to make it charming, when what it really needs is some vitality. At least the recorded sound is good, replete with a nicely sparkling piccolo and splendid immediacy from the charismatic trombones. Curiously though, I thought the strings sounded a bit meager in places, which is surprising for this orchestra.
The musicmaking perks up noticeably in Iberia, where instantly in the first movement (“through the streets and along the paths”), Hindoyan is much more engaging and displays some delightful characterization in the music. In fact he sounds almost as spontaneous and lively as Falletta. And that’s saying something! And the recording is glamorous – vivid, colorful and atmospheric. Though again I notice the violins sound a bit thin and undernourished, especially up high, which is quite a change from what we normally hear from Hindoyan’s strings. What happened to their full-bodied richness of sound? It sounds like they are fewer in number than usual. But the horns show some real character and enthusiasm beginning around Fig 19 (about halfway through) all through to the end, especially in the final measures, with all those little grace notes ringing out proudly. Very nice.
Parfums de la nuit is just a bit matter-of-fact, but the playing is sensitive and colorful, featuring exquisite oboe solos. And I like that Hindoyan takes just a bit more time here and there than Falletta does, giving the strings a chance to caress a phrase with real elegance. And in Fete, he’s not quite as rushed as Falletta, which actually results in the strings’ strumming sounding a bit more authentic, if a little less exuberant. Though curiously, even here, they still sound a bit scant in number. And while Hindoyan starts with plenty of gusto, he doesn’t quite keep it going with the same vigor as it progresses, failing to muster the festive energy or sheer excitement in the final measures that Falletta does so spectacularly. And the trombones, which were so characterful earlier in Espana, are oddly timid and reserved here at the end. Yeah I know their octave glissandos are hard (if not impossible) to execute exactly as written, but rushing through it and burying them in the mix isn’t the solution.
Speaking of trombones, I just had to jump ahead and listen to Alborada del gracioso next to see if the Liverpool trombones could match their counterparts in Buffalo in yet another glissando there at the end. But before I got there, I heard an impressive bass drum whack near the beginning – which was good. But it became immediately obvious the recorded sound overall is noticeably more distant and less focused than before, revealing this to be one of those earlier (2022) “live” recordings. And Hindoyan is not nearly as spirited or gracioso as Falletta. Nor does he generate nearly the same exhilarating momentum in the final peroration. As for his trombones there at the end – they’re virile enough I guess, especially the 3rd, but not nearly as macho as the Buffalo bones, which are much more effective. Trombones aside, this reading could have used a good deal more verve.
And following this boisterous climax with the dead pavane is absolutely absurd. And I use that description literally – this princess sounds about as lifeless as you can get, especially coming here in the program. And seriously, why is it even included here in a Spanish-themed program? I turned it off after barely a minute, and was absolutely loath to listen to a single second of Bolero. So I didn’t.
I almost forgot to go back to Rapsodie espagnole that I skipped over. But I’m glad I did; it’s actually pretty good. However, in the opening Prelude and later in “Habanera”, it’s hard to match the luscious, colorful, atmospheric acoustic Naxos captures in Buffalo. The Onyx microphones in Liverpool are just a little too close to be optimal, minimizing some of its allure. And even though Hindoyan gives his strings time to luxuriate in the most rapturous passages, they continue to sound a bit thin and not as sumptuous as we have come to expect from them. That this characteristic persists all through this CD is just so very odd.
“Malaguena” progresses rather uneventfully, and is fairly representative of what I hear throughout the entire piece – the playing is excellent without being truly distinguished, as is Hindoyan’s involvement with it. He takes a little more time here and there than Falletta does, but is not as musically immersive or vivacious – especially in “Feria”, where Falletta’s exhilaration takes one’s breath away. Hindoyan, in comparison, is more reserved and gentlemanly than truly festive. It’s well-played, but sounds a bit careful.
So to summarize: Espana, Alborada and Rapsodie are good, reliable readings – if ultimately routine compared to the best. Iberia is definitely the standout of the program, musically and sonically, and other than the curiously restrained ending, it really is very good. But on the whole, Hindoyan is no match for Falletta in this music.4 Nor is the programming as imaginative or rewarding. Thinking back about what I’ve heard on this recording, trying to identify something – anything – truly distinguished or remarkable about it, I simply can’t. The Royal Liverpool Philharmonic plays proficiently, reminiscent of their Petrenko days, and I would have welcomed more spontaneity and unbuttoned enthusiasm throughout from them. And I can’t help but wonder – is Hindoyan losing his spark already? What has happened to the youthful vitality and dynamism we would expect from him?
3 To be fair, that’s all Falletta gives us in her collection too.
4 That Naxos disc is truly one of her most spectacular and exciting recordings. I’ve rarely heard her sound so uninhibited on record.
So why this release? Surely the folks at Onyx are aware of what’s going on – who’s doing what; what’s being marketed by other labels, etc. So why aren’t they producing something innovative – like continuing their Music from the Americas series they started with Hindoyan last year with the wonderful Venezuela! release? That would be something we could use and would actually be interested in. But we got this instead.
I shouldn’t have bought this disc. Plain and simple. After all, I had just listened to the Buffalo Philharmonic playing the hell out of this music. And after Hindoyan’s gloomy, “live” Tchaikovsky 6th on Onyx’s previous release, I should have known better. For just as on that Tchaikovsky CD, Onyx has again underhandedly snuck in some older, live concert stuff with new session recordings on this new release as well. This seems to be the new modus operandi there at Onyx. Apparently they think no one will notice. Or care. Well I noticed. And I care. And I hesitate to buy any more CDs from these guys.2
So what kind of mish-mash did Onyx concoct this time? We get some Ravel from live concerts in 2022, and Chabrier and Debussy from session recordings in 2024. And in the title piece, Iberia, Hindoyan plays just the central portion of Debussy’s Images for Orchestra rather than the whole thing. Why? Why can’t we have all three Images? The other 2 would have been infinitely more interesting and musically rewarding than yet another loathsome, redundant Bolero that absolutely no one wants or needs. But, alas, Iberia is all of Debussy’s masterpiece we get.3
But Hindoyan starts the concert with the ubiquitous, bubbly Espana by Chabrier. Again, another unimaginative choice, as if just an afterthought to liven up the program with something trivial to fill out the disc. And Hindoyan dutifully plays it just that way. It sounds to be a quick read-through, sightread for the microphones without requiring much effort. Musically, it sounds like he’s trying to make it charming, when what it really needs is some vitality. At least the recorded sound is good, replete with a nicely sparkling piccolo and splendid immediacy from the charismatic trombones. Curiously though, I thought the strings sounded a bit meager in places, which is surprising for this orchestra.
The musicmaking perks up noticeably in Iberia, where instantly in the first movement (“through the streets and along the paths”), Hindoyan is much more engaging and displays some delightful characterization in the music. In fact he sounds almost as spontaneous and lively as Falletta. And that’s saying something! And the recording is glamorous – vivid, colorful and atmospheric. Though again I notice the violins sound a bit thin and undernourished, especially up high, which is quite a change from what we normally hear from Hindoyan’s strings. What happened to their full-bodied richness of sound? It sounds like they are fewer in number than usual. But the horns show some real character and enthusiasm beginning around Fig 19 (about halfway through) all through to the end, especially in the final measures, with all those little grace notes ringing out proudly. Very nice.
Parfums de la nuit is just a bit matter-of-fact, but the playing is sensitive and colorful, featuring exquisite oboe solos. And I like that Hindoyan takes just a bit more time here and there than Falletta does, giving the strings a chance to caress a phrase with real elegance. And in Fete, he’s not quite as rushed as Falletta, which actually results in the strings’ strumming sounding a bit more authentic, if a little less exuberant. Though curiously, even here, they still sound a bit scant in number. And while Hindoyan starts with plenty of gusto, he doesn’t quite keep it going with the same vigor as it progresses, failing to muster the festive energy or sheer excitement in the final measures that Falletta does so spectacularly. And the trombones, which were so characterful earlier in Espana, are oddly timid and reserved here at the end. Yeah I know their octave glissandos are hard (if not impossible) to execute exactly as written, but rushing through it and burying them in the mix isn’t the solution.
Speaking of trombones, I just had to jump ahead and listen to Alborada del gracioso next to see if the Liverpool trombones could match their counterparts in Buffalo in yet another glissando there at the end. But before I got there, I heard an impressive bass drum whack near the beginning – which was good. But it became immediately obvious the recorded sound overall is noticeably more distant and less focused than before, revealing this to be one of those earlier (2022) “live” recordings. And Hindoyan is not nearly as spirited or gracioso as Falletta. Nor does he generate nearly the same exhilarating momentum in the final peroration. As for his trombones there at the end – they’re virile enough I guess, especially the 3rd, but not nearly as macho as the Buffalo bones, which are much more effective. Trombones aside, this reading could have used a good deal more verve.
And following this boisterous climax with the dead pavane is absolutely absurd. And I use that description literally – this princess sounds about as lifeless as you can get, especially coming here in the program. And seriously, why is it even included here in a Spanish-themed program? I turned it off after barely a minute, and was absolutely loath to listen to a single second of Bolero. So I didn’t.
I almost forgot to go back to Rapsodie espagnole that I skipped over. But I’m glad I did; it’s actually pretty good. However, in the opening Prelude and later in “Habanera”, it’s hard to match the luscious, colorful, atmospheric acoustic Naxos captures in Buffalo. The Onyx microphones in Liverpool are just a little too close to be optimal, minimizing some of its allure. And even though Hindoyan gives his strings time to luxuriate in the most rapturous passages, they continue to sound a bit thin and not as sumptuous as we have come to expect from them. That this characteristic persists all through this CD is just so very odd.
“Malaguena” progresses rather uneventfully, and is fairly representative of what I hear throughout the entire piece – the playing is excellent without being truly distinguished, as is Hindoyan’s involvement with it. He takes a little more time here and there than Falletta does, but is not as musically immersive or vivacious – especially in “Feria”, where Falletta’s exhilaration takes one’s breath away. Hindoyan, in comparison, is more reserved and gentlemanly than truly festive. It’s well-played, but sounds a bit careful.
So to summarize: Espana, Alborada and Rapsodie are good, reliable readings – if ultimately routine compared to the best. Iberia is definitely the standout of the program, musically and sonically, and other than the curiously restrained ending, it really is very good. But on the whole, Hindoyan is no match for Falletta in this music.4 Nor is the programming as imaginative or rewarding. Thinking back about what I’ve heard on this recording, trying to identify something – anything – truly distinguished or remarkable about it, I simply can’t. The Royal Liverpool Philharmonic plays proficiently, reminiscent of their Petrenko days, and I would have welcomed more spontaneity and unbuttoned enthusiasm throughout from them. And I can’t help but wonder – is Hindoyan losing his spark already? What has happened to the youthful vitality and dynamism we would expect from him?
And finally – Onyx really needs to stop with the commingling of old concert material (of dubious sound quality) with new studio recordings from this orchestra, and get back to producing all-new, high-quality recordings of innovative programs people might actually want to hear. A second volume in their
Americas series would be a great place to start.1 Ravel himself stated this piece should last 17 minutes. Just listen to Riccardo Muti’s 1982 Philadelphia recording on EMI to hear how it really should go.
2 As it turns out, the live recordings here sound better than that dismal Tchaikovsky 6 on the earlier release (though still not as good as the studio sessions), so maybe their lack of transparency regarding the source material is not quite as serious as I suspected.
3 To be fair, that’s all Falletta gives us in her collection too.
4 That Naxos disc is truly one of her most spectacular and exciting recordings. I’ve rarely heard her sound so uninhibited on record.
