Lyrics & Music Ravel: Daphnis et Chloe, Poulenc: Gloria - CSO, Haitink (live, 2007) (B002X074PO)

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Ravel: Daphnis et Chloe, Poulenc: Gloria - Chicago Symphony Orchestra, Haitink (Live 2007 recording)

CSO Resound, 901906 - Released May, 2009

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This is a wonderful new performance of Daphnis et Chloé, Maurice Ravel’s greatest orchestral achievement. The Chicago Symphony Orchestra was in top form when these live performances were committed to disc, and the Chicago Symphony Chorus was equally outstanding. Bernard Haitink conducts with great skill, though not always with magic. The CD’s volume level is surprisingly low - I had to turn the volume up to twice my usual level - but, once a satisfactory volume is found, the sonics are magnificent. If this is all you need to hear before making your investment, buy with confidence.

Begin at the opening of Daphnis: a marvelous reading of these opening pages, with perfectly-judged flute and horn solos. Most striking, however, is the contribution of the Chicago Symphony Chorus. They will return later, in the a capella introduction of the ballet’s second part, with an even bigger part and even more stunning results. These singers obtain more mystery and beauty from a series of ‘oohs’ and ‘aahs’ than most can from any number of lines of text. Credit must be given to the outstanding chorus master, Duain Wolfe, who has been with the Chicago Symphony since 1994, and to the individuals making up the Chicago Symphony Chorus, who are each listed in the booklet. After the chorus returns to save the day in Part II’s three-minute opening cue, Haitink leads a slowly-paced battle scene which despite (or perhaps because of) its tempo achieves a very welcome suspense. I must also note that this take yields a great wealth of orchestral detail; I heard much here that I had not before. The legendary sunrise takes flight admirably, if not unforgettably, and the flute solo afterward is dispatched with perfection by Mathieu Dufour. The final dance is a madcap conclusion, and the Chicago Symphony and Haitink really ‘let it all hang out.’ It is a most satisfactory finale to a most satisfactory performance.

If the above summary does not perhaps do this playing justice, it is because I have neglected to mention the warm and crystal-clear sound. With many thanks to the engineers, we are able to hear everything going on in the orchestra at all times, and I learned of an abundance of details which were quite new to me. Daphnis seems to be a recording technician’s showpiece-the Boulez recording on DG offers some of the most awe-inspiring sound I have ever heard-and this CD is no exception, though not necessarily the exemplar (that’s still Boulez). Happily the Chicago Symphony Orchestra is so fine that its world-class playing makes even the aforementioned ‘dead spot’ enjoyable.

This is probably the best Daphnis in years: it features better playing and sharper focus than the Bordeaux/Petitgirard outing on Naxos, it is more warmly recorded and more memorable than the Gielen reissues on Hänssler and (in the United States) Arte Nova, and it is infinitely more interesting than the brisk, emotionless take by Jun Märkl and the Orchestre National de Lyon, which also featured downright unpleasant choral work. The unusual but rather inspired coupling is Francis Poulenc’s marvelous Gloria. New listeners will love this jocular music, by turns peppy and probing, and some may recognize, in some of the brass writing, the influence of Janác(ek. An old Leonard Bernstein album couples Poulenc’s Gloria with Janác(ek’s Glagolitic Mass, and frankly the idea is brilliant.-- Brian Reinhart, MusicWeb International

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