Debussy, Faure, Poulenc and Ravel

Ravel: Le tombeau de Couperin (1914/1917 orch 1919)

Pavane pour une infante défunte (1899 orch 1910)
Debussy: Nocturnes (1893/1899)
Fauré: Pavane, op.50 (1886/1887)
Poulenc: Stabat Mater (1950)

Clare Booth – soprano; London Philharmonic Choir & Orchestra/Yannick Nézet-Séguin

Royal Festival Hall, London – 13 February 2010

This concert really was a treat for it contained music which we all know, but in the main only from recordings. The first two works were played in reverse order, thus starting with Le Tombeau which was a shame, for the rapt attention which the Pavane brought might have stopped the bronchial brigade in its tracks; they were in fine voice during Le Tombeau !

Despite the added coughing and spluttering, the LPO gave fine performances of Ravel’s works, Ian Hardwick and Sue Bohling (principal oboe and cor anglais respectively) distinguishing themselves, and Nézet-Séguin directed unobtrusively, allowing the music to go its own way. Ms Bohling was much in evidence in Debussy’s magnificent Nocturnes, three – one could almost call them symphonic – sketches ranging from the beauty of clouds, through a festival day and then to sirens; odd choices to say the least, but what vivid displays the composer gives us! Nuages was magnificently restrained, and contained some of the most perfect pianissimo playing I have heard in some time, Fêtes bright and fiery and the central march section, which Debussy described as a “dazzling fantastic vision” was just that.  The final Sirènes – a portrait of the dangerous bird–women who are always portrayed as seductresses – the female voices of the London Philharmonic Choir wove their hypnotic song through the orchestral textures.  They were too loud; it’s hard to get a group of singers to sing as quietly as Debussy required. Fauré’s delicious Pavane in the version with chorus, which inflates a delightful piece into something too big for its material, was lovely to hear.

To end, Poulenc’s first, large scale, religious composition, the Stabat Mater, a dramatic work with broad gestures from both chorus and orchestra. The cheeky Poulenc surfaces briefly, but not enough to relieve the dark, tension filled music. Chorus and orchestra rose to the challenge with aplomb and gave a superb performance, well conceived by Nézet-Séguin. Claire Booth, replacing an indisposed Lisa Milne, was the fresh voiced soloist, adding much in her small, but significant, contributions.

Yet another fine show from this great orchestra which seems to get better and better each time I am privileged to hear it.

Bob Briggs