There are great classic analogue recordings of Ibéria from Reiner (RCA‚ 1/90R)‚ Haitink (Philips‚ 3/94)‚ and Paray (Mercury‚ 6/95R)‚ but a fine new modern version is welcome‚ and this Cincinnati performance is superbly recorded. The Music Hall in the orchestra’s home town glows with a most suitable ambience for Debussy’s atmospheric impressionism and provides a sound picture which has warmth and detail‚ a fragrant allure in ‘Les parfums de la nuit’‚ glitter and a wide range of dynamic in ‘Le matin d’un jour de fête’. Jésus López­Cobos manages the colourful nuancing skilfully‚ with an impressive sense of ebb and flow‚ although perhaps the finale could have more explosive excitement. He is completely at home in Turina’s early Procesión del Rocio (the Procession itself is both alluringly and brilliantly played‚ and the gaudy climax is powerful and expansive without exaggerated vulgarity). The Danzas fantásticas (as in his earlier Decca recording‚ 2/84 – nla) have a rich tapestry and succulent detail and the orchestra lets rip in the closing ‘Orgía’. The Sinfonia sevillana (written in the same year‚ 1920) is less of a symphony‚ more of a three­movement tone­poem‚ still dominated by a colourful dance element‚ yet unified by a leit­motif heard at the beginning on flute and oboe. Its opening ‘Panorama’ is soon vigorously rhythmic; the central movement (which opens with a violin solo)‚ depicts the Guadalquivir River‚ with a gentle cor anglais solo against an undulating accompaniment. Castanets appear later to underline the Spanish geography before the beguiling mood of the opening returns with a gentle cello quartet. The closing ‘Fiesta’ brings nore catchy dance rhythms‚ but a bold lyricism too‚ and the work ends grandly. The orchestra plays this vividly colourful music with a responsive relish‚ and it is difficult to imagine it being better recorded.