Daphnis et Chloé: Pappano delivers a bittersweet performance

Daphnis et Chloé is one of the most peculiar works amongst Maurice Ravel’s catalog. It is his longest one, which already says a lot about the uniqueness of the piece, given Ravel’s tendency to write compressed masterpieces within the 30-minute range. The piece also contains sections for a wordless chorus. And even when it was conceived as a ballet, it arguably holds a permanent slot in the programming of the most prestigious orchestras.

Another special trait of Daphnis et Chloé is its richness. Hailed as one of the best works written by Ravel, it possesses sensuality and a certain degree of emotion, which is also rare in the music of Ravel.

Antonio Pappano, a seasoned conductor who has specialized in the operatic repertoire, has joined forces with the London Symphony to record this marvelous piece. And even when a new album always stands as a new opportunity to discover unheard features from a piece of music, the final result is somewhat mixed.

On one hand, the playing of the London ensemble is certainly impeccable, and Pappano has been capable of managing the emotional density of the piece, while highlighting its harmonic essence. But on the other hand, there are a couple of aspects that undermines the recording: the limited size of the chorus, and the shortcomings of the acoustics of the venue in which it was recorded.

Daphnis et Chloé is a luscious piece of music, so every opportunity to assess it with fresh ears is welcome. In spite of its flaws, I encourage you to give this album a try because I’m sure it will enable you to discover a few treasures inside of that infinite vault of beauty that’s Ravel’s body of work.