CD REVIEW: Debussy
Paavo Jarvi and the Cincinnati Symphony Orchestra
'Debussy: Prelude a L'Apres-midi d'un Faune' (Telarc)
By Michael Barnes
Austin American Statesman, March 10, 2005
***
There is no paucity of modern Debussy recordings, especially of his symphonic masterworks "Prelude a L'Apres-midi d'un Faune," "Nocturnes" and "La Mer." So why issue a CD from a second-tier -- if improving -- ensemble such as the Cincinnati Symphony Orchestra? Two words: Paavo Jarvi. The Estonian conductor has already worked his magic on Debussy's near-relations -- Ravel, Sibelius, Britten -- for moody, nature-inspired music -- as well as edgier selections from Stravinsky, Shostakovich, Sumera and Part. But Debussy brings out Jarvi's historical intelligence and ardor for voluptuous tones. The sensualist in me prefers these renditions to Pierre Boulez's chilly 1960s series or his more tender 1993 versions, or Bernard Haitink's popular recordings with the Concertgebouw Orchestra Amsterdam.
'Debussy: Prelude a L'Apres-midi d'un Faune' (Telarc)
By Michael Barnes
Austin American Statesman, March 10, 2005
***
There is no paucity of modern Debussy recordings, especially of his symphonic masterworks "Prelude a L'Apres-midi d'un Faune," "Nocturnes" and "La Mer." So why issue a CD from a second-tier -- if improving -- ensemble such as the Cincinnati Symphony Orchestra? Two words: Paavo Jarvi. The Estonian conductor has already worked his magic on Debussy's near-relations -- Ravel, Sibelius, Britten -- for moody, nature-inspired music -- as well as edgier selections from Stravinsky, Shostakovich, Sumera and Part. But Debussy brings out Jarvi's historical intelligence and ardor for voluptuous tones. The sensualist in me prefers these renditions to Pierre Boulez's chilly 1960s series or his more tender 1993 versions, or Bernard Haitink's popular recordings with the Concertgebouw Orchestra Amsterdam.
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