"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
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.
Soprano Natalie Dessay leaves the dizzy heights of Bellini’s Amina, Donizetti’s Marie and Massenet’s Manon to inhabit the more discreet emotional and vocal world of Debussy’s Pelléas et Mélisande with a cast of fellow francophones…
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.
For 30 years Michel Plasson has recorded French music exclusively for EMI Classics. This exclusive box is truly unique as it covers all the masterpieces of French repertoire: concertos by Ravel, Fauré's Requiem, Berlioz's Symphonie Fantastique, Bizet's only symphony, L'Arlesienne; Lalo's Symphony; etc . . .
Of the compilations released to mark the 150th anniversary of Claude Debussy's birth this year, this is the most treasurable. As a survey of the music of perhaps of the greatest 20th-century composer it could hardly be bettered, especially within recordings from a single label, or rather, a single group of labels, for as well as Deutsche Grammophon recordings it also includes material from Philips and Decca, which are all now part of the Universal stable.
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.