The music of Claude Debussy–at times idyllic, at times ethereal, but always colorful and evocative–would seem ideally suited to the harp. And indeed, most of Yolanda Kondonassis’ 10 transcriptions are quite effective, from the opening En Bateau to the closing Sarabande. Clair de lune sounds particularly ethereal, while the Reveries creates a seductively soothing atmosphere. On the other hand, The Girl with the Flaxen Hair and The Little Shepherd sound somewhat spare on this instrument–and the Submerged Cathedral is a definite non-starter. The harp just doesn’t have the requisite bass to recreate those resounding low tones at the work’s climax. This really stifles the music’s impact, no matter the intense feeling Kondonassis puts into her performance.
Nevertheless, it’s this feeling, along with Kondonassis’ imagination and unstinting musicianship, that makes the other selections largely enjoyable. That said, Kondonassis’ rendition of Danses sacrée et profane, the lone work actually scored by Debussy for harp, sounds oddly restrained, especially compared to Vera Bading’s rapturous performance with Bernard Haitink. Nonetheless, harp enthusiasts–and particularly fans of Kondanassis–will be quite satisfied, especially since Telarc presents her in a flattering, pleasantly realistic sonic environment.
