Maurice Ravel - L'Enfant et les sortilèges; L'Heure espagnole (Lorin Maazel)

Information

Composer: Maurice Ravel

CD1:

• (01-24) Ravel - L'Heure espagnole
• (25-29) Rimsky-Korsakov - Capriccio espagnol, Op. 34

CD2:

• (01-25) Ravel - L'Enfant et les sortilèges
• (26-29) Stravinsky - Le chant du rossignol

Jane Berbié, mezzo-soprano
Jean Giraudeau, tenor
Michel Sénéchal, tenor
Gabriel Bacquier, baritone
José van Dam, bass-baritone

Françoise Ogéas, soprano
Sylvaine Gilma, soprano
Colette Herzog, soprano
Jeannine Collard, mezzo-soprano
Jane Berbié, mezzo-soprano
Michel Sénéchal, tenor
Heinz Rehfuss, baritone
Camille Maurane, baritone

Choeur et Maîtrise de la R.T.F.
Orchestre National de la R.T.F.
Berlin Philharmonic Orchestra (Rimsky-Korsakov)
Radio-Symphonie-Orchester Berlin (Stravinsky)
Lorin Maazel, conductor

Date: 1957-1965
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4497692

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Review

My much respected late colleague Philip Hope-Wallace, who knew a thing or two about French opera, described this, when it was first issued, as ''a superlative piece of recording''; and I cannot do better than echo his words. This is, quite simply, one of the classics of the catalogue, and easily the best performance available of this everenchanting work (which nevertheless emerged somewhat prosaically in the Previn performance). Here everything is just right. One couldn't ask for more vivid orchestral sound, better balance (including those double-bass harmonics at bar 12 which are all but lost in the Previn/EMI and Jordan/Erato versions) or more marvellously clear words from everyone. FranSoise Ogeas is a most convincing petulant brat finally overcome with remorse, Jeanine Collard as his mother changes her tone in a moment from gentle enquiry to disappointment to crossness to hurt reproof and as the teacup is hilariously Chinese; Camille Maurane and Michel Senechal are nimbletongued as, respectively, the grandfather clock and Mr Arithmetic (the latter vivaciously seconded by the children's choir), Sylvaine Gilma is brilliant in the virtuoso parts of the fire and the nightingale and tender as the princess... and so on; need I continue—except to say that this recording offers far more index points than either of the later versions? Now, an open (and serious) question to connoisseurs; has there ever been a more wonderfully inventive orchestral score than this?

-- Lionel Salter, Gramophone

More reviews:
https://www.amazon.com/Ravel-LEnfant-Sortileges-LHeure-Espagnole/dp/B000001GXR
https://www.amazon.com/Ravel-Lenfant-Sortileges-Maurice/dp/B000001G9U

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Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with impressionism along with Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles. His best known works include Boléro (1928), Gaspard de la nuit (1908), Daphnis et Chloé (1912). Ravel was also an exceptionally skilled orchestrator.
http://en.wikipedia.org/wiki/Maurice_Ravel

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Lorin Maazel (March 6, 1930 – July 13, 2014) was an American conductor, violinist and composer. As a conductor, Maazel was well-regarded in baton technique and possessed a photographic memory for scores. He was music director of the Cleveland Orchestra (1972-1982), Orchestre National de France (1977-1991), Pittsburgh Symphony Orchestra (1988-1996), Bavarian Radio Symphony Orchestra (1993-2002), and the New York Philharmonic (2002-2009), among other posts. Maazel's catalogue contained over 300 recordings of works by Beethoven, Brahms, Mahler, Schubert, Richard Strauss and others.

https://en.wikipedia.org/wiki/Lorin_Maazel

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