First and foremost commendations to pianist and composer Lowell Liebermann for resisting the temptation, based on this ballet's subject matter, to go all-out gothic with the music. But as the booklet notes point out, the impetus behind the story is the yearning for love, and that is how choreographer Liam Scarlett instructed Lowell Liebermann to perceive the action on stage, as well as lending the music a 19th century framework. And it must be said that the composer delivered on all counts, despite being asked to write most of the scenes sight unseen, submitting them to the choreographer only to be asked to rewrite them based on his impressions and planned staging.

In general, the score has a modern, almost cinematic feel to it with 19th century romanticism lurking behind every note, and stands well on its own. Although as mentioned above, if you were to play this to someone without prior notion, they would never accurately guess the subject matter behind this ballet. There are of course a few scenes, for example the Prologue which sets a tenebrous atmosphere, the Interlude and The Creature Kills Henry and Dances With Elizabeth which remind us of the tragic nature of this story. But taking everything into account, it's a well-crafted work with a recurring undertone in which the flow from scene to scene and between acts sounds very natural. The curtain falls on the sad and yet passionate scene titled Victor and the Creature.

The recording was captured "live" during San Francisco Ballet performances, and as always with Reference Recordings is impactful, and sits you in the sweet spot of the hall. Again, plaudits to Lowell Liebermann for creating such a "musical" score in this inharmonious day and age.