There are of course 
                many recordings in the catalogues of 
                all these popular colourful Ravel works. 
                Although these Maazel readings would 
                not cause me to throw out my favourite 
                recordings, they are all nicely atmospheric, 
                exotic and energetic. 
              
 
              
The Daphnis et Chloé 
                Suites are without chorus. Maazel’s 
                wonderfully atmospheric, poetic readings 
                have a lovely shimmering diaphanous 
                beauty. The music is nicely shaped and 
                balanced and a model of clarity, fragrant 
                and voluptuous. In the first suite the 
                contrasting torch-lit pirates’ Danse 
                guerrière is fiery and muscular 
                while the concluding bacchanal of the 
                second suite is excitingly hedonistic. 
              
 
              
Maazel delivers a characterful, 
                idiosyncratic rendering of the Bolero. 
                The climax has a regimental swagger 
                with very sardonic closing bars. On 
                the way, for instance, the early solo 
                woodwinds are laid back, almost uninvolving. 
                Later, the trombones seeming to echo 
                their sense of ennui, add something 
                of jazzy blues while, contrastingly, 
                the trumpets are quite snappy. The snare 
                drum is better integrated into the orchestral 
                fabric than in many recordings. Maazel’s 
                La Valse is very atmospheric, 
                even tingling; acidly sardonic and certainly 
                suggestive of a crumbling Imperial Viennese 
                world. Its voluptuousness overpowers 
                any tenderness while the coda suggests 
                Stravinsky at his wildest. Turning to 
                Maazel’s Rhapsodie espagnole: 
                his ‘Malaguena’ is sensual and sultry, 
                the ‘Habanera’ fluid, nicely inflected 
                and languid - and slightly sinister; 
                while the brilliantly coloured concluding 
                Feria is exciting enough. 
              
 
              
This RCA Red Seal reissue 
                may boast superior sound but it cannot 
                dispel, for me, the magic of two older 
                recordings of the complete Daphnis 
                et Chloé ballet: Charles 
                Munch’s 1955 RCA recording with the 
                Boston Symphony Orchestra and the New 
                England Conservatory Choir, and Monteux’s 
                brilliant Decca recording of 1959 with 
                the Chorus of the Royal Opera House, 
                Covent Garden and the London Symphony 
                Orchestra. The 1995 DG Boulez recording, 
                complete with chorus is also rated well. 
                Monteux is a premiere recommendation 
                for the remaining items, so, too, is 
                Karajan. 
              
Confident recommendations 
                of colourful, sensual renditions of 
                these favourite Ravel works. But buyers 
                are recommended to sample the competition. 
              
Ian Lace