There is a lot to be
said for French music performed by the French! An obvious point, but one
belied in the history of recording by the traditionally iffy condition
of French orchestras and the expatriate nature of
great French conductors. In recent years, though, with cultural
cross-fertilization a mere Internet click away, Francophone orchestras
have begun to stand tall for the sheer excellence of their playing and
set convincingly before listeners the special blend of sensuality and
Cartesian lucidity that in so many ways makes France French. Gallic
orchestras, one might say, are recapturing their musical patrimony
through excellence. Indeed, the sort of virtuosity and precision to be
found on Radio France these days would make George Szell and his
Clevelanders proud. And now there is the French-speaking Orchestre
Philharmonique du Luxembourg, under Emmanuel Krivine: beautifully
disciplined and all of a piece.
The special authenticity of orchestras performing music from their
own culture is to be found in the little inner details of accent and
articulation. Krivine and his musicians appear fascinated with each
wriggle in Ravel’s world. Coloristic figurations other orchestras would
play on automatic pilot suddenly mean something here. Every woodwind
appears to have its own special accent and personality. Even in the
snare drum, flurries of atmospheric notes acquire more than a background
purpose. and flickers of light illuminate more than just rotating
shards in the kaleidoscope. Krivine’s approach emphasizes a sort of
Toscaninian precision, or at least I think so. Despite pleasant words
written about the Luxembourg Philharmonie, the auditorium as recorded
here sounds nearly as crackly as NBC’s notorious Studio 8H—beautifully
balanced—but dry as a radiator. The sound itself is good, with an
amazingly solid bass line, but the acoustic picture is so flat as to
destroy any real sensuality being sought. But taken on its own terms,
this analytical close-up is quite fascinating.
La Valse
and especially
Une Barque sur l’océan
have a lot more going on within than is normally audible, and
Krivine’s precision pays real dividends. I thought more of both pieces
after hearing this performance.
Shéhérazade
suffers a bit, though, from the sheer lack of voluptuous appeal.
Karine Deshayes sings beautifully, but I’d judge her to be one of the
less-voluptuous mezzos around. Her performance does nothing to dislodge
Janet Baker, who not only managed the French accent in her classic
recording, but also contributed that special timbre of voice that
identified her immediately, no matter which note was being sung. And
someone looking for a real wallow should turn to Renée Fleming, still in
fresh and lush timbre, whose sensuality, flirtatiousness, and feeling
for her own charisma play beautifully into Ravel’s hands. (Steven Kruger)
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