[SACD-R][OF] Debussy – La mer, Jeux & Prelude a l’apres-midi d’un faune / Море; Игры; Послеполуденный отдых фавна (Valery Gergiev, London Symphony Orchestra) - 2011 (Classical/Orchestral)

HRAudio.net review:
Valery Gergiev’s 1st recording of French music on the LSO Live label, Ravel: Daphnis et Chloé, Boléro, Pavane – Gergiev was characterised by an unexpected affinity for this music & a warmth of expression not usually associated with this conductor. This follow-up issue confirms Gergiev’s credentials as a Francophile conductor (as do his recent meticulous performances of the music of Henri Dutilleux at the Barbican).
This collection of 3 of Debussy’s most popular orchestral works (taken from 3 separate concerts that took place between September 2009 & May 2010) opens with an absolutely ravishing & sensuous account of ‘Prélude à l’après-midi d’un faune’. The playing of the LSO is of the utmost refinement capped by the lovely performance of the long flute solo by principal flute Gareth Davies.
In contrast ‘La Mer’ is given an expansive performance of massive power & dynamic range. Some may question the way Gergiev broadens the tempo of ‘De l’aube à midi sur la mer’ (from 7′ 50”) to a marked degree, but it here it sounds both natural & quite magical in providing a moment of stillness before the tumult of the final section’s shattering climax.
The flecks of percussion & harp in ‘Jeux de Vagues’ emerge with remarkable clarity in a recording that allows every detail of Debussy’s orchestration to be savoured, while the concluding movement ‘Dialogue du vent et de la mer’ has rarely been unleashed with such elemental force. A combination of tempo flexibility & firm control of dynamics makes Gergiev’s exhilarating performance on this disc something rather special.
Debussy’s most enigmatic, & many would argue finest orchestral work ‘Jeux – poème dansé’ was written in 1912 for Diaghilev’s Ballet Russes & 1st staged in 1913. Though ostensibly about 2 girls & a boy searching for a lost tennis ball in a garden at dusk, the scenario has both sinister & erotic aspects that a good performance will illuminate. Nowadays Jeux is usually heard in the concert hall & on recordings, rather than in the theatre, where the subtlety & invention of Debussy’s marvellous score can be fully appreciated. Gergiev allows the full virtuosity of his ever responsive orchestra to come into play with playing of absolute precision. Some impressionistic half-lights may be lacking, but this is more than made up for by the flexible yet precise orchestral playing & Gergiev’s scrupulous attention to Debussy’s extensive tempo indications.
When played at a realistic volume setting, the 5ch DSD recording emerges as 1 of the best that I have heard from LSO Live. Though close & brightly lit it does present a most convincing sound picture & a clarity rarely experienced in the concert hall.
Recommended.
~ Copyright © 2011 Graham Williams and HRAudio.net