This disc is a straight reissue of a 1991 release from
Naxos’ sister company Marco Polo. Quite why this has happened is a mystery;
Naxos already have a perfectly serviceable account of the Orchestral
Suite No.1 in an account by Jean-Yves Ossonce and the New Zealand Symphony
Orchestra. The present issue matches that other performance neither
in performance nor recorded sound. As for the two operatic suites, they
remain curiosities, revealing little of the breadth and scope of the
operas from which they are taken.
There can be little doubt that Massenet’s talent was
for operatic writing; his style has often been criticised for being
overtly sentimental but his work seems to be back in favour of late,
with excellent new recordings of Werther and Manon from EMI and Thais
with Renee Fleming from Decca. Neither of the two operas represented
on this disc are among his most popular. Esclarmonde is an epic work
of Wagnerian stature, a real French Tristan full of enchanted islands
and magical forests. The present suite opens in a manner representative
of the disc as a whole - a hugely resonant acoustic masking some fallible
brass playing. As the first piece moves through to its gentle central
section the playing improves but the noble melody is presented without
much imagination or care for phrasing. Kenneth Jean doesn’t manage to
stir up much in the way of passion as the number progresses and isn’t
quite responsive enough to the expressive nuances inherent in this music.
While the brass reprise of this theme at the close of the piece is played
to the manor born, the accompanying string figures are thrown to the
fore by the odd recording balance.
The second movement fares better but this depiction
of a magic island is lacking in that very quality. Nevertheless
the shimmering, fluctuating orchestral timbres are well caught by the
refined playing even if once more the romantic segments fail to blossom
sufficiently. The third movement however features some very expressive
string playing and, at last, a passionate display of temperament as
Jean drives the strings towards the climax. Unfortunately the final
movement, a forest scene containing pastoral music and a climatic chase,
fails to generate much excitement. Fallible brass playing again robs
the music of any energy, excellent horns excepted. The suite draws to
a noisy close before one senses that it has really got going. Moreover,
the suite as a whole does not do justice to Massenet’s masterful opera;
a far better option would be to invest in a complete recording, preferably
the Decca set from the late seventies with Joan Sutherland. It is one
of her finest recorded performances, with the celebrated prima donna
relishing the extraordinary demands of the title role. This would, of
course involve an outlay of at least six times that of this inexpensive
Naxos recording.
A similar situation would be applicable to the Cendrillon
Suite; but the only worthy recording of this delightful fairy tale opera
(formerly on CBS, with Frederica von Stade and Nicolai Gedda) is not
generally available. Once again, this suite is not representative of
the opera as a whole. The three numbers represent the more spectacular
courtly scenes, with all the pomp and circumstance that one would expect
of such a work, but the heavy-handed approach favoured here does the
music no favours and it is hard to gleam any sense of the magical or
fantastic. Besides, Massenet is at his most inspired in lyrical music.
The more extrovert style showcased here has a sense of routine about
it.
The performance of the Orchestral Suite No.1 is significantly
better; though paradoxically the music is less assured. Without the
inspiration of a dramatic setting the composer seems slightly adrift.
Nevertheless Jean and his Hong Kong forces give a sensitive, well-proportioned
performance. However the recording still suffers from an over-resonant
recording, and Naxos’s own competition (mentioned above) is much the
better prospect and is more logically coupled with further (non-operatic)
suites by Massenet. The present reissue is not really recommended unless
for completeness; far greater satisfaction can be experienced from listening
to the real thing, something that I heartily advise.
Owen Walton
Hong Kong Philharmonic
Orchestra/ Kenneth Jean