page_title: A Midsummer Night's Dream (Seiji Ozawa recording)
section_title: Critical reception
hierarchical_section_title: A Midsummer Night's Dream (Seiji Ozawa recording) / Critical reception
caption_attribution_description: English: Felix Mendelssohn Bartholdy, portrait by Friedrich Wilhelm von Schadow Deutsch: Felix Mendelssohn Bartholdy, Portrait von Friedrich Wilhelm von Schadow
context_page_description: A Midsummer Night's Dream is a 55-minute studio album containing the overture and almost all of the incidental music that Felix Mendelssohn wrote to accompany William Shakespeare's play of the same name. It is performed by Kathleen Battle, Frederica von Stade, the Tanglewood Festival Chorus and the Boston Symphony Orchestra under the direction of Seiji Ozawa, with interlinking passages of verse spoken by Judi Dench. It was released in 1994.
context_section_description: Alan Sanders reviewed the album in Gramophone in October 1994, comparing it with what he considered to be the best recording of the work to have appeared thitherto, a Teldec disc conducted by Kurt Masur. Kathleen Battle, Frederica von Stade and the Tanglewood Festival Chorus had all sung "with great distinction", he wrote. And the playing of the Boston Symphony Orchestra was "of the highest quality" and "beautifully brought off" from the first bar of the album to the last. But the brightest star in the CD's constellation of talents was Seiji Ozawa. Conducting with precision, pointedness and more fantasy than Masur had supplied, he struck "an ideal balance between conveying the underlying strength of Mendelssohn's writing and bringing out the music's wide-eyed freshness, its delicacy and its gentle, slightly teasing sense of humour". His reading of the Overture, for example, was powerful and cogent, but he was alert to every detail of the score and it seemed as though he was conducting with a smile. The only charge that could be laid against him was that his pace in the Scherzo was slightly slower than some listeners might prefer. Taken as a whole, the album had one minor weakness and one decisive advantage. Its flaw was that it fell just short of presenting Mendelssohn's score in its entirety: a single number, an allegro, was omitted. The lacuna amounted to merely a few minutes of "brief and sometimes repetitive orchestral comments", but the missing bars were engaging and their absence was regrettable. But this irritating solecism was not grave enough to outweigh the asset that the album enjoyed in its narrator, Judi Dench. Where Masur's disc had passages of interpolated dialogue in German, Ozawa's had excerpts from Shakespeare's text spoken by Dench in English. Her first appearance (amidst the closing notes of the Scherzo) was somewhat jolting, but the "great character and wit" of her subsequent contributions were what "[lifted] the issue above all other competition". The album was an "[almost] ideal representation of Mendelssohn's music for Shakespeare's play", and it came with the bonus of audio quality that was first class.
  Richard Freed reviewed the album in Stereo Review in September 1995, following his British predecessor in comparing it with Kurt Masur's rival version. Frederica von Stade, he wrote, was "every bit as persuasive" as Seiji Ozawa's Second Fairy as she had been when recording A Midsummer Night's Dream for Eugene Ormandy. And Kathleen Battle, the Tanglewood Festival Chorus and the Boston Symphony Orchestra sang and played as well as they knew how to. It was plain, too, that for Seiji Ozawa, making his album had been a labour of love - his disc was a beautiful one, and Masur's could not equal its charm. It was unfortunate that like Masur, Ozawa had spoiled Mendelssohn's music by interpolating a spoken narration. That the intrusive text was delivered in English rather than in German scarcely made it less of an annoyance. Judi Dench was an actress of distinction, but her contributions were unnecessarily lengthy, and Freed was alienated by "[her] intensity, [her] jarring entrances and by her pauses after each line of verse, irrespective of expressive sense". If Mendelssohn's music was not heard in the context of a complete performance of Shakespeare's play, it was best enjoyed with either a bare minimum of narration or with none. Deutsche Grammophon had recorded the album's musical items "handsomely", but Dench sometimes sounded as though she was speaking "from the depths of a cistern".
caption: Felix Mendelssohn painted by Friedrich Wilhelm Schadow in 1834
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