Ravel Enfant et les Sortilèges; Ma mère l'oye

Record and Artist Details

Composer or Director: Maurice Ravel

Genre:

Opera

Label: DG

Media Format: CD or Download

Media Runtime: 73

Mastering:

DDD

Catalogue Number: 457 589-2GH

Tracks:

Composition Artist Credit
(L')Enfant et les sortilèges, 'Bewitched Child' Maurice Ravel, Composer
André Previn, Conductor
Anne-Marie Owens, Mother, Soprano
Anne-Marie Owens, Shepherd, Soprano
Anne-Marie Owens, Mother, Soprano
Anne-Marie Owens, Shepherd, Soprano
Anne-Marie Owens, Shepherd, Soprano
Anne-Marie Owens, Mother, Soprano
David Wilson-Johnson, Grandfather Clock, Tenor
David Wilson-Johnson, Grandfather Clock, Tenor
David Wilson-Johnson, He-cat, Tenor
David Wilson-Johnson, Armchair, Tenor
David Wilson-Johnson, He-cat, Tenor
David Wilson-Johnson, He-cat, Tenor
David Wilson-Johnson, Armchair, Tenor
David Wilson-Johnson, Armchair, Tenor
David Wilson-Johnson, Grandfather Clock, Tenor
Elizabeth Futral, Nightingale, Soprano
Elizabeth Futral, Fire, Soprano
Elizabeth Futral, Princess, Soprano
Jacqueline Miura, She-cat, Soprano
Jacqueline Miura, Chinese Cup, Soprano
Juanita Lascarro, Shepherd, Soprano
Juanita Lascarro, Owl, Soprano
London Symphony Chorus (amateur)
London Symphony Orchestra
Mark Tucker, Old Man, Tenor
Mark Tucker, Frog, Tenor
Mark Tucker, Teapot, Tenor
Mary Plazas, Shepherdess, Soprano
Mary Plazas, Bat, Soprano
Maurice Ravel, Composer
New London Children's Choir
Pamela Helen Stephen, Child, Soprano
Rimat Shaham, Dragonfly
Rimat Shaham, Squirrel
Robert Lloyd, Tree, Baritone
Ma Mère l'oye, 'Mother Goose' Maurice Ravel, Composer
Alessio de Paolis, Noctambulist; King of Fools, Tenor
André Previn, Conductor
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Doris Doe, Mother, Soprano
Enrico Campi, Chief of Police, Bass
Ezio Pinza, Father, Baritone
Giacinto Prandelli, L'Amante, Tenor
Grace Moore, Louise, Soprano
Graham Clark, Loge, Tenor
Günter von Kannen, Alberich, Baritone
John Tomlinson, Wotan, Baritone
John Tomlinson, Wotan, Baritone
John Tomlinson, Wotan, Baritone
Kurt Schreibmayer, Froh, Tenor
Linda Finnie, Fricka, Mezzo soprano
London Symphony Orchestra
Maria Amadini, L'Amica, Contralto (Female alto)
Maurice Ravel, Composer
Raoul Jobin, Julien, Tenor
Silvana Zanolli, First Maid, Mezzo soprano
Silvia Mazzoni, Second Maid, Mezzo soprano

Composer or Director: Maurice Ravel

Genre:

Opera

Label: DG

Media Format: CD or Download

Media Runtime: 70

Mastering:

DDD

Catalogue Number: 457 590-2GH

Tracks:

Composition Artist Credit
(L') Heure espagnole Maurice Ravel, Composer
André Previn, Conductor
David Wilson-Johnson, Don Inigo Gomez, Tenor
Georges Gautier, Torquemada, Tenor
John Mark Ainsley, Gonzalve, Tenor
Kimberley Barber, Concepcion
Kurt Ollmann, Ramiro, Baritone
London Symphony Orchestra
Maurice Ravel, Composer
Rapsodie espagnole Maurice Ravel, Composer
André Previn, Conductor
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Anne Evans, Brünnhilde, Soprano
Eva-Maria Brundschuh, Gutrune, Soprano
John Tomlinson, Wotan, Baritone
John Tomlinson, Wotan, Baritone
John Tomlinson, Wotan, Baritone
London Symphony Orchestra
Maurice Ravel, Composer
Siegfried Jerusalem, Siegfried, Tenor
L’heure espagnole doesn’t enjoy the popularity that has lighted on Ravel’s second opera, the much more difficult-to-perform L’enfant et les sortileges. The problem with L’heure espagnole on disc is that all the visual jokes about the clocks being carried up and down stairs by the handsome muleteer with muscles of iron don’t make any sense. All three of the classic versions listed above are over 35 years old, and my own favourite, the Cluytens with Denise Duval as the clockmaker’s wife, Concepcion, was recorded in 1952. She is definitely a soprano, as is Suzanne Danco with Ansermet, but Jane Berbie for Maazel took it into mezzo territory. Although Kimberley Barber is listed as a soprano, she has more than a touch of the mezzo about her voice, so makes Concepcion sound rather tougher than the flirty Duval.
This is the first digital L’heure espagnole, so the clarity of the orchestra comes as a very big advantage. Andre Previn, who has come to opera in the third act of his career – since this recording was made he has composed and performed his own Streetcar – brings out all the cynicism in Ravel’s commentary on the foibles of all concerned, and the sudden little bursts of melody are all beautifully handled. The Rapsodie espagnole is the obvious and delightful choice as fill-up.
L’enfant, in contrast, is an ideal gramophone opera. The problem Colette posed in her mystery story, with teapot and wallpaper and armchairs singing, and then a whole garden full of bugs, beetles, squirrels and other animals all needing the genius of a producer and designer to bring them to life is bypassed. Previn is here returning to an opera he’s already recorded, and this new version is an advance on his EMI performance. As with L’heure epagnole, the orchestral sound is impressive, but the competition here is even fiercer (though a nicely shaped Ma mere l’oye makes a good coupling). The classic version under Ernest Bour is a historic affair, hardly to be compared to a modern recording: the performances of all the soloists are so secure in the French idiom that Previn’s cast, excellent though it is, sounds a little tentative by comparison. The Dutoit Montreal version (Decca, 10/95) is the best of the modern L’enfants but it has not survived in the catalogue. The two historic recordings, L’enfant under Bour and L’heure espagnole with Cluytens, are both irreplaceable classics. This new L’heure espagnole has the field to itself as the only modern recording, but bear in mind the Maazel versions of both works, now in DG’s Originals series. '

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