Classical CD reviews

John Adams: "Nixon in China"; Robert Orth, Maria Kanyova and others, with Opera Colorado Chorus and the Colorado Symphony Orchestra, conducted by Marin Alsop (Naxos).

"That was it? That was 'Nixon in China'?" So began the famously underwhelmed New York Times review of the opera's 1987 premiere. Those words also apply to the new recording conducted by Marin Alsop (left).

The dreamy, glossy sheen that seemed to be an Adams trademark in the original-cast recording is replaced in the new recording with a less-varnished sound picture and more hard-hitting view of the opera. Although the piece still probes the souls of its historic characters, this performance also projects the unsavory, power-mongering side of the story, most especially Robert Orth's masterfully obnoxious portrayal of Richard Nixon. Interpretation aside, the opera occasionally seems dated, even quaint.

When not displaying flights of poetic eloquence, Alice Goodman's libretto feels awfully abstract and even antitheatrical in its braininess. Adams' word settings aren't always convincing; often, he falls back on the more basic minimalist language from which he arose. Having thoroughly digested the opera, the Colorado cast copes surprisingly well with the vocal writing and deserves much credit for holding the piece together.

DAVID PATRICK STEARNS, PHILADELPHIA INQUIRER

Tchaikovsky: Symphony Nos. 1 and 6; London Philharmonic Orchestra, conducted by Vladimir Jurowski (LPO).

Britten: Double Concerto, Variations on a Theme by Frank Bridge, Les Illuminations; London Philharmonic Orchestra, conducted by Vladimir Jurowski (LPO).

These live recordings from the London Philharmonic's label show two sides of conductor Vladimir Jurowski (above) -- the repertoire reclamationist, and the emerging personality leaving his stamp on the standard repertoire. The disc of early Britten works is mostly terrific: This performance handily represents the incredibly mature composer that Britten was at 19. The Frank Bridge variations show the composer playing with established genres as only a boy genius can. The best-known work, "Les Illuminations," suffers from its soloist: The mind of soprano Sally Matthews understands the piece thoroughly, but the voice is maddeningly diffuse.

Although Jurowski's Tchaikovsky performances would be happily encountered in concert, the closer inspection on CD reveals a basic solidity, but only isolated moments in the Sixth Symphony that have a distinctive profile. The Symphony No. 1 is among the best available in a propulsive performance suggesting that Jurowski views it as a genuine symphony, not a disguised ballet.

DAVID PATRICK STEARNS, PHILADELPHIA INQUIRER