At opposite interpretative poles in Sheherazade are Suzanne Danco (1954 Decca Historic) and Maria Ewing (1989 EMI): the former with ''correct style and appropriate expression'' (Jose Pons), and the latter as overtly erotic (with abundant slides) as they come. It's the difference between the virgin and the vamp. Arleen Auger is somewhere in between, with the allure of the more mature woman (only the high fortissimo ''Haine'' before ''Asie's'' climax taxes her). ''Asie'' is perhaps too slow, too dreamy, without Danco's innocent enthusiasm or Ewing's evident relish to carry the storytelling forward, though it's a perfectly tenable interpretation (with properly perdendo horns after the passing of the ''long fringed robes'', the dream nearly disappears altogether), and there is plenty that is richly characterful in Auger's wise (and closely balanced) and serene delivery of the vocal line throughout. That last adjective is apt too for the rarely recorded Vocalise, sung with more secure pitch than by Barbara Hendricks (EMI, 4/89—nla). Aaaah, indeed—who could resist those octave glissandos at the close?
The rest of the programme is variable. There's a very slow Pavane, full-toned and of grave beauty and a swift La valse, though Pesek's relatively rigid manner in the last three minutes of the latter disappoints after Rattle (EMI), who starts from a slower basic tempo. Pesek's Bolero has a surprisingly reticent side-drum (better too soft than too loud), but the gradual aggregation of texture and increase of dynamics is more smoothly handled by Rattle (again at a slower tempo), and he keeps the ear alert in both works by drawing out relevant lines and details of instrumentation—it's hard to feel this degree of distinction in Pesek's readings. That said, Pesek obviously enjoys a good relationship with the Philharmonia (here, at its best), and the sound has good presence and depth.'