Return to the harem: Ravel's Shéhérazade in Paris

By Mark Pullinger, 21 May 2017

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“her voluptuous mezzo as richly plum-coloured in her lower register as her purple gown”

Reviewed at Philharmonie de Paris: Grande salle Pierre Boulez, Paris on 20 May 2017

Nielsen, Aladdin, Suite for Orchestra, Op.34

Ravel, Shéhérazade

Strauss R., Salome, Op.54: Dance of the seven veils

Stravinsky, The Firebird: Suite (1919)

Ravel, Ma mère l'Oye (Mother Goose): 5. Le jardin féerique

Bizet, Carmen: Prelude to Act 1

Marianne Crebassa, Mezzo-soprano

Orchestre National du Capitole de Toulouse

Tugan Sokhiev, Conductor

Caesar’s Gallic Wars at home: Norma in Toulouse

David Karlin, 26th March

Although Karine Deshayes role change from Adalgisa to Norma is a work in progress, Luciano Ganci and Roberto Scandiuzzi shine in a staging charged with mythic symbolism.

****1

Prokofiev’s colourful scores well served by Karabits in Toulouse

David Truslove, 13th March

Two popular Prokofiev works were given vivid accounts by the Orchestre National du Capitole de Toulouse at the opening concert of the Franco-russes Festival.

****1

A flat finish for Prague Spring

Frank Kuznik, 4th June

Orchestre National du Capitole de Toulouse lets the air out of a promising program and a Czech classic.

**111

Boris Godunov at Salle Pleyel

Constance Clara Guibert, 5th February

Mussorgsky’s rich, complex music and Boris Godunov’s tragic story is told with very original vision in Tugan Sokhiev’s concert version. The Salle Pleyel made no mistake about it: this Boris will stay in our memories for a while.

*****

Orchestre National du Capitole de Toulouse in Cardiff

Verity Quaite, 29th March

St David’s Hall’s International Concert Series continued tonight, transporting the audience on a journey around Europe. This was the Orchestre National du Capitole de Toulouse’s debut performance in Cardiff, and their first tour of the UK.

***11

Michael Fabiano fait trembler le Capitole dans Otello

Arnaud Saura-Ziegelmeyer, 14th April

Pour ses débuts à Toulouse, le ténor américain se distingue dans le rôle-titre de l'ouvrage verdien. Mise en scène, plateau vocal et fosse s'associent parfaitement pour livrer la quintessence du drame.

*****

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Return to the harem: Marianne Crebassa seduces in Ravel's Shéhérazade in Paris