"This nicely presented disc offers a thoughtfully planned Fauré programme, and brings the beautiful Pelléas et Mélisande music before a wider public, alongside the more popular Requiem and Pavane. In fact the performance (and recording too) of Pelléas is more successful than those of the other items. David Zinman chooses appropriate tempi to allow the essential sensitivity of the elusive subject of forbidden love to be felt through some of Fauré's most beautiful music. And full marks to the Rotterdam orchestra, who play quite wonderfully in music which does not exactly encourage us to acknowledge their virtuosity. Jill Gomez is on top form, too, in Mélisande's song…" ~musicweb-international
Pelleas et Melisande is Faure's finest set of incidental music, and Marriner catches very well its supple movement, its rise and fall of intensity. His performance of Masques et bergamasques has similar virtues.
This collection contains all Debussy’s works for orchestra as well as many orchestral arrangements of his piano music. Together these display a rich panorama of Debussian sound and a remarkable insight into the composer.
This Pierian CD, advertised in the May 2012 Naxos catalog as an “also available” disc, is the label’s first issue from 2000 featuring the complete recordings of Debussy as pianist. All of his records were made in two sessions, a series of four short 78-rpm sides with soprano Mary Garden (his first Mélisande) at the Paris G&T studio in 1904 and 14 Welte-Mignon piano rolls recorded on November 11, 1913. Both are famous groups of recordings, restored and reissued over the decades, but this release is the best I’ve ever heard them.
Peter Stein staged the work for Welsh National Opera in 1992 and won universal praise, as did Pierre Boulez for his conducting. Within austere, wholly appropriate sets, beautifully lit by Jean Kalman, Stein catches the very essence of this singular and elusive piece. Each of the 15 scenes is given its own distinctive décor in which the action is played out on several levels – high for the tower scenes, low for the eerie, subterranean grottoes, for instance. A masterstroke is the subtle evolution from one scene to another in view of the audience, offering a visual counterpoint to the interludes. Stein sees that Debussy's instructions are scrupulously observed. In fact, as a whole, this is an object-lesson in modern staging. Stein and his collaborators reflect the ebb and flow of crude realism and fragile dream-life that permeate the score, which Boulez has identified as lying at its heart. Director and conductor worked closely with each other over a six-week rehearsal period, something unlikely to occur today, so Boulez's interpretation is in complete accord with the staging, his musical direction at once direct and luminous, timbres finely balanced one with the other.
No sooner had Sibelius moved to the town of Järvenpää in 1904 than he was commissioned by the Swedish Theatre to write incidental music for Maeterlinck’s Pelléas et Mélisande. At the time it was his most ambitious undertaking in the genre of incidental music and his setting included ten scenes, only one of which was cut when he adapted the piece as a concert suite. Dating from the same year, Musik zu einer Szene was originally intended to accompany a tableau and is full of striking contrasts. The two waltzes of 1921 are transcriptions of piano pieces, and reveal the potent influence of Tchaikovsky.