Originally released in 1997, this 2004 reissue of
Maurice Ravel's orchestral masterpieces will definitely appeal to sensualists, but others may find it somewhat lacking in timbral clarity, structural definition, and understanding of the composer's intentions. Lorin Maazel's performances with the
Vienna Philharmonic Orchestra are extremely lush and pretty and a little too dreamy in their ambience and polish to convince any who appreciate
Ravel's more resilient qualities. Luxuriance is not wholly inappropriate in the two suites from Daphnis et Chloé, which, taken as an impressionistic fantasy of Greek mythology, may be open to Maazel's soft-edged, shimmering interpretation. However, what is gained in sonic loveliness comes at the expense of visceral excitement. Harder to accept, though, is the hazy treatment of the Rapsodie espagnole, which deserves cleaner, brighter colors and crisper dance rhythms, not a sonorous halo. La valse is especially enervated by Maazel's exploitation of gorgeous sonorities, and as he elegantly sweeps through it, he conveys no sense of
Ravel's irony and postwar disenchantment. Boléro almost plays itself, and Maazel plainly relishes its orchestration. But his self-conscious ritardandi in the closing measures are entirely unexpected and perverse. RCA's recording is highly resonant, which substantially contributes to the album's aural wash.