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Maurice RAVEL
(1875-1937) Daphnis et Chloé (1910/1911) [55:49] Shéhérazade, ouverture de féerie (1899)
[15:33]
MDR Rundfunkchor/Howard
Arman
Orchestre Nationale de Lyon/Jun Märkl
rec. 15-17 January, 11 February 2008 (Daphnis); 16-17 February 2008
(Shéhérazade), Auditorium de Lyon, France. DDD NAXOS 8.570992
[71:37]
Daphnis et Chloé, Ravel's only full-length ballet,
comes close to being his masterpiece in most people’s
eyes. For me, however, La Valse and the D major Piano
Concerto are the works which tower over his output. Written
for, and first performed by, Diaghilev’s Ballets Russes
in 1912, Daphnis is a rich and opulent score, full of
the most beautiful and descriptive music which can stand quite
easily without the visual aspect. Whilst it sounds gorgeous
and is very easy on the ear, it’s a complicated piece
to get to grips with. The music relies on leitmotifs
for the characters and the music is always cross-referencing,
so your ears have to be alert to all that is passing before
them.
There have been many recordings over the years but none has
superseded the one conducted by Pierre Monteux - who led the
première - with the Chorus of the Royal Opera House,
Covent Garden and the London Symphony Orchestra recorded in
the superb acoustic of the Kingsway Hall in April 1959 (Decca
000624802).
Recently Märkl and his Lyon Orchestra have given us two
disks of Debussy’s orchestral music - the second being
especially impressive (Naxos
8.570993) - and so this disk promised much. I wasn’t
disappointed. This is a very good performance of the score,
very well recorded so every little detail can be heard, the
balance between choir and orchestra is good and it’s a
very enjoyable experience. Märkl really understands this
music and moulds it to his vision, the orchestra willingly going
with him and producing some excellent playing.
There are one or two important points I must make. The choir
could be a little more seductive. It is rather heavy-handed,
or should that be voiced, at times and therefore lacking in
poetry which can be a distraction, such as in the famous Daybreak
at the start of the final scene. However, in the unaccompanied
section at the end of scene 1 there is some ravishing singing.
Also, in a couple of places, such as the Brigands dance,
which opens the second scene, the brass fails to make the requisite
impact. This might be because the disk has a very wide dynamic
range - the opening pages are so quiet as to be almost inaudible
if played at your usual volume setting; turn it up and there’s
a fine recording here. I wonder if the seating of the orchestra
was such that the brass were placed too far from the microphones
so that their contribution seems less immediate than the rest
of the orchestra. It’s a small point for there is a marvellous
presence to this recording and the performance is very good,
if not in the inspired league of the aforementioned Monteux
disk. No matter, at the price it’s well worth the outlay.
As a pleasing coupling we have the early, and quite delightful,
fairy overture, Shéhérazade. This has nothing
whatsoever to do with the great song-cycle of the same name
from four years later. The brass balance is better here and
the orchestra is totally at home in this music. That said, the
overture shouldn’t appear after the climactic moment of
Daphnis; it should have been placed at the start of the
disk,
This is totally recommendable - especially at the price - but
don’t be without the Monteux on any account.
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