Daphnis is an iconic work for this orchestra, which has recorded it complete on at least four previous occasions, twice for Munch and once each for Ozawa and Haitink. All of these performances have been generally excellent, with the two Munch recordings still considered (rightly) as reference interpretations. It’s particularly satisfying to see James Levine, in a personal note, acknowledging this impressive legacy, and even more importantly delivering a performance that is fully worthy of it (especially considering the fact that Levine’s earlier version, on DG with the Vienna Philharmonic, wasn’t anything to cheer about).
Just about everything goes right here. The opening scene, so often taken too languorously, moves forward with an energy and purpose that still never slights the music’s sensuality. This is also true of that other potential “dead” spot, Chloé’s dance of supplication in Scene 2–not Ravel’s strongest musical inspiration. The vigorous bits are terrific–the pirate’s dance, and of course the closing celebration. Throughout it all the orchestra plays magnificently, the chorus is excellently balanced and atmospheric, the live audience decently quiet if not entirely inaudible.
The engineers have captured the sound of the orchestra in the splendid acoustic of Boston’s Symphony Hall quite well in both regular and SACD stereo. All told, this release constitutes a smart and wholly successful first issue on the orchestra’s new proprietary label. If they continue with an astute mix of new and historical material, they could amass a catalog of a quality and importance second to none. It’s an exciting prospect. [4/20/2009]
