Renard The Fox

Taken as a sampler of the witty aspect of Stravinsky this CD is quite good. Esa-Pekka Salonen has been a champion of Stravinsky's entire output for years now and even in this recording dating back to 1990 his affinity for Stravinsky's idiom is secure. The 'Ragtime' is especially droll and the "Renard the Fox" (called a burlesque tale in song and dance) is taken seriously enough for the comedy to come forth. The 'Octet' for wind instruments is given an excellent reading.

Works of Igor Stravinsky is a massive set: 22 CDs of performances of Rite of Spring, Petrouschka, L'Histoire du soldat, Symphony in E-Flat, The Rake's Progress and more under the direction of the composer, with additional performances by his disciple Robert Craft under Stravinsky's supervision, and a disc (the Sympony in E-Flat disc, actually) that includes recordings of rehearsals and Stravinsky discussing his own music.

As a one-of-a kind company, standing at the crossroads between musical, lyrical and theatrical worlds, Les Monts du Reuil specialises in the forgotten treasures of French opera. Here, it offers a distinctively rare program centred around the fables of La Fontaine, which unearthes two comic operas based on the works of the fabulist: Le Magnifique [The Magnificent] by André Grétry and L'Éclipse totale [The Total Eclipse] by Nicolas Dalayrac, which was reconstructed for the occasion, and recorded here for the first time. In their selection of the tastiest excerpts alternating from a small aria to a duet or a horse-racing brass fanfare, the musicians highlight the refinement, lightness and humor typically found in French lyrical art from this era.

A grasshopper, a milkmaid’s pail, a shepherd, a fox, a country mouse, a cobbler… These are just some of the diverse and varied characters from the famous Fables that Jacques Offenbach decided to set to music in 1842, some 150 years after they were written by Jean de La Fontaine. With their vivid texts featuring talking animals and stock characters, the Fables offered an allegorical and didactic way of alluding to the court and the mores of the time. Offenbach chose six of the 240 Fables of la Fontaine to set as mélodies. Here the conductor Jean-Pierre Haeck presents them in his own orchestration performed by the Orchestre de l’Opéra de Rouen and the mezzosoprano Karine Deshayes, who excels in this repertory. To complete the programme, the singer performs numbers from Offenbach’s opéra-bouffe Boule-de-neige and the orchestra plays movements from the ballet Le Papillon, offering listeners a recording as refined as it is witty.