Maurice Ravel (1875-1937)
Daphnis et Chloé M. 57 (1909-1912)
Tenebrae
London Symphony Orchestra/Sir Antonio Pappano
rec. live, 10 & 12 April, 2024, The Barbican Hall, London
LSO Live LSO0899 SACD [55]

This recent LSO Live release was “Recommended” by my colleague John Quinn and subsequently designated one of our Records of the Month.  I refer you to his review for some background to the work and this performance; I also alert you to the existence of my survey of major recordings for information regarding alternative versions. Had this been issued at the time of that limited conspectus, it would definitely have made my shortlist; everything about it works, from the imperceptible entry of the first note of the Introduction to its climactic conclusion. It was a smart move to recruit the celebrated Tenebrae choir to provide the vocals, as their command of dynamics and intonation complements that of the LSO on top form. I remarked in my survey upon the almost impalpable, dreamlike quality some recordings could evoke while other remained comparatively earthbound; this has that ethereal, diaphanous quality in abundance and the music has an easy, insouciant grace which belies the difficulties Ravel had in bringing the work to completion.

This also has that pictorial capacity which brings Ravel’s conception alive; the personages depicted are brought vividly to life and parade across the listener’s imagination like the figures in a Pre-Raphaelite frieze. To discuss performative music in terms of “instrumental colours” or “orchestral palette” is perhaps something of an inadequate metaphor, even a cliché, but Ravel of all composers had that creative acumen and this of all his works is the most illustrative of that gift. Anyone doubting whether the LSO is one of the world’s great orchestras need only listen to this recording, so subtly and expertly directed by Antonio Pappano.

Of course, more is required here than an uninterrupted flow of grace and elegance; episodes such as the Dorcon’s grotesque dance, arousing the spectators’ laughter, the Rape of Chloé by the pirates and War Dance need percussive bite and rhythmic precision, provided here in abundance. Especially haunting is the orchestra’s evocation of the “lumière irréelle” (unnatural light) accompanied by wind machine – which, for once, is not overdone or hokey. Likewise, the smaller chorus’ distant wordless singing at the opening of Part II is one of the most successfully executed I have heard; too often, the choir is too near or loud, and that effect is complemented by the similarly well-judged placement of the “offstage” brass. Chloé’s supplicatory dance is wonderfully sinuous and erotic – shades of Strauss’ Salomé – and the appearance of Pan heralded by slithering harp, string glissandi and whistling wind machine is powerfully executed.

My touchstone for a successful performance of this mercurial music has always been the Break of Day music opening Part III. Fluttering flutes and rippling arpeggios over the rising figure on the cellos and the chorus’ melismata portray birdsong, sparkling rivulets and a dawning sun; this is playing of a seamless, velvety opulence of which the BPO at the height of their fame with Karajan would have been proud. Chloé’s reappearance and the sequence of dances which cap this most sensuous of ballets are exquisitely realised; the Bacchanale is wild, driven and orgasmic without becoming a scramble.

Wonder of wonders, not only is the sound impeccably rich, bright clear and balanced – which has by no means not always been the case in LSO Live recordings-  but the audience is utterly silent – not a cough; I am almost disappointed that the final thunderous strokes are not hailed by the rapturous applause the execution deserves. The combination of this engineering excellence and the immediacy and coherence of the narrative thread running through this performance make it a total success and the most recommendable of modern, digital accounts.

Ralph Moore

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Previous review: John Quinn (February 2025 Recording of the Month)