Prokofiev: Romeo and Juliet, excerpts; Symphony No. 6. Charles Dutoit, NHK Symphony Orchestra. Decca 458 190-2.

Prokofiev: Romeo and Juliet, excerpts; Symphony No. 6. Charles Dutoit, NHK Symphony Orchestra. Decca 458 190-2

First, a few notes of clarification. Since Universal's acquisition of PolyGram, the English and American Decca labels are no longer in conflict. Thus, Decca will not have to market its product in America under the alternative London title. London Records is no more. Hello, Decca. This will send shock waves through the audiophile community, which for the last half century has sworn that original Deccas sounded superior to lowly Londons. Next, Charles Dutoit, long the Music Director of the Montreal Symphony Orchestra, is now the Principal Conductor of Japan's NHK Symphony Orchestra, a fact that only struck me a few minutes into the Romeo and Juliet excerpts. Something was not right, I said to myself. Then I looked at the jewel box. Part of my concern was related to the orchestra itself not sounding right, not as well upholstered velvety or smooth as the Montreal group, and part to the different venue, Tokyo in the Romeo and Juliet, Vienna in the Sixth Symphony. From this first issue, I can't say I like the new orchestra or the new sound very much.

The ballet highlights are, frankly, nondescript. They aren't completely bland, but they have relatively little color or character to them. After such noteworthy interpretations as those from Previn, Maazel, and Leinsdorf, as well as from Dutoit himself in a previous Montreal recording, these readings seem almost lifeless. The Symphony No. 6, on the other hand, is more creatively performed, the bizarre workings of this Romeo and Juliet-cum-Shostakovich piece more vividly contrasted than the excerpts are. The Symphony's opening Allegro brings mainly gloom, apparently symbolizing the Russian suffering in the Second World War. The middle movement, a broad Largo, begins in the same mood and then unexpectedly changes to one of mellowness, grace, and then perhaps sweet regret. The final section of this three-movement symphony is marked Vivace, and is, indeed, quick and lively. Its neoclassical exuberance may reflect an expression of relief at War's end, but this portion nevertheless concludes ambiguously. Dutoit succeeds in exacting significance from each passage.

The sonics of the two pieces do not impress one as vividly as did the old Montreal sound we're used to. The Romeo and Juliet, recorded in Japan, is dark in the midrange, bright and edgy in the highs, and one-dimensional overall. The Symphony, recorded in Austria, is a little better. It sounds more flowing and has better depth. Neither, though, can match the flattering ambiance Dutoit has always received in his Canadian location. As a reality check, I suggest a comparison of the sound of this new digital release to that of the simultaneously issued, 40-year-old Fiedler recording, Pops Stoppers, on RCA Living Stereo. No contest.