[TR24][OF] Ophélie (Ophelie) Gaillard with Royal Philharmonic Orchestra, Tim Redmond - Dreams (Debussy, Dvorák, Grieg, Chopin,Tchaikovsky/Чайковский, Rachmaninov/Рахманинов, Satie, Fauré, Bellini, Donizetti, Puccini) - 2009 (Classical)

02. Rusalka, Op. 114/B 203: O moon high up "Song to the moon" (5:39)
by Antonín Dvorák
03. Peer Gynt Suite No 2, Op. 55: No 4, Solvejg's Song (3:46)
by Edvard Grieg
04. La Sonnambula: Ah, non credea mirarti (4:11)
by Vincenzo Bellini
05. L' Elixir d'Amour: Una furtiva lagrima (3:58)
by Gaetano Donizetti
06. Gianni Schicchi: O moi bobbono caro (3:41)
by Giacomo Puccini
07. Gymnopédies (3) for Piano: No 1, Lent et douloureux (2:57)
08. Gnossiennes (6) for Piano: No 1 (3:55)
by Erik Satie
09. Pavane Op. 50 (5:22)
10. Trois mélodies, Op.7: No 1 "Après un rêve" (3:01)
by Gabriel Fauré
11. Mazurkas (4) for Piano, Op. 67: No 4 in A minor, B 163 (3:19)
12. Nocturnes (3) for Piano, B 54/Op. 9: No 2 in E flat major (4:20)
by Frédéric Chopin
13. Songs (14), Op. 34: No 14, Vocalise (5:28)
by Sergei Rachmaninov
14. Pieces (6) for Piano, Op. 51: No 6, Valse sentimentale (2:24)
by Peter Ilyich Tchaikovsky

Ophélie Gaillard's calling-card album is just the ticket in terms of presentation. Gaillard plays a Goffriller loaned to her by CIC. As for the music it is a selection of toothsome miniatures as arranged by Craig Leon. He did a similar service for Joshua Bell not so long ago.
The music by temperament of the original and by arranger's art is warmly romantic. It is recorded strongly. Pride of place in the sound-stage is accorded to Gaillard but the orchestra is not neglected. The Song to the Moon catches the supernatural element in Dvořák and makes a link I should have made long before now with the Erben-based tone poems of his later years. The Grieg Solveig Song leaves you in no doubt that Gaillard is a fluent communicator of emotion - nothing cold or disengaged here. The Sonnambula and L'Elisir hits are smooth but leave little impression beyond a sweet glow. Leon makes prominent play with the harp and an example is in Mio Babbino Caro which is most lovingly shaped by Gaillard and her orchestral partners. The Satie pieces have each had the central heating turned on and the sentimentality setting advanced. This works better in the Gnossienne than in the Gymnopedie. The Fauré Pavane, on the other hand, is taken at an unsentimental, even impatient clip. I would, by contrast, have preferred a higher sanglote quotient. Things are more adroitly judged in Après un Rêve. The two Chopin pieces are nicely shaped, the Mazurka even making unexpected connections with Sibelius's incidental music. The Nocturne needs a little more reserve - held back rather than unleashed. Rachmaninov's Vocalise has been arranged every which way and is superbly done here. The dialogue with the violin is most touchingly done. We end with the passionately swelling and receding Tchaikovsky Valse sentimentale. This serves as a rubric for the whole collection.
Gaillard has already recorded the Bach suites, Britten suites and Sonata and Fauré pieces (all for Ambroisie) so this is no starter collection. It should please the seemingly inexhaustible market for sincerely shaped sentimental anthologies. Meantime how about next time including the world premiere recording of Florent Schmitt's superbly imaginative Cello Concerto which rejoices under the title Introit, Récit et Congé. Now that would make a most welcome entry into the CD lists. Is anyone listening, I wonder.
-- Rob Barnett, MusicWeb International