This fine new Decca recording of Ravel's intoxicating opera introduces some new and very promising singers. The sound quality is of such splendid clarity that every nuance of Ravel's witty and highly emotional score can be heard, without any sacrifice where the voices and text are concerned.
Dutoit and the Montreal forces play with obvious care and affection. Of all operas, this is one where orchestral texture and balance is of the utmost importance – if you don't already have L'enfant in your collection, there is no need to look further.
Among the soloists I was particularly impressed by Odette Beaupre, a sensual and characterful Dragon-fly and Squirrel, as well as Didier Henry as the Clock and Georges Gautier as the Teapot. Marie-Francoise Lefort is lively as the Fire and contributes to the ensemble of the Shepherds and Shepherdesses – perhaps the saddest, most typical Colette-Ravel moment, it seems to describe in music all the mixed grief and joy at the loss of innocence and childhood.
Catherine Dubosc is better as the Sofa, Bat and Owl than she is in the song of the Princess – how one longs for the security of the old-time French singers on the three classic versions (Martha Angelici for Bour, Sylvaine Gilma for Maazel and, the best of all, Suzanne Danco for Ansermet). Colette Alliot-Lugaz does what she can with the role of the Child – it is, of course, mostly an acting, not singing, part but she gets the little solo about the heart of the rose, and deals with it gently.
Only the Maazel set – incredibly, nearly 34 years old – comes anywhere near the sound quality of this new Decca recording. I love this opera so much that since there are only a few versions available, I would suggest that Ravel enthusiasts obtain as many of them as they can afford. For others, this new one can be the standard recommendation, with either the Bour or Ansermet as a reminder of the past glories of the French style.
One doesn't really need to hear anything else once the Child has called for his mother, but the fill-up is generous, with a sumptuous account of the early Sheherazade Overture, contrasting with the better-known song-cycle. Dubosc performs this, making a stronger impression than she did with a Poulenc recital some months ago (11/94), but of course it is a work that has attracted every possible great singer, including Suzanne Danco herself.
Not many people under the age of umpty-five will get the puns in Colette's fake-Chinese for the duet of the Teapot and Cup; ''Sessue Hayakawa'', ''Mah-jong'' and ''Hari-kiri'' come across clearly, but can anyone tell me who or what was ''Keng-ca-fou''?R1 '9510150'