Search - Claude Debussy, Michael Tilson Thomas, London Symphony Orchestra :: Debussy: La Mer

Magnificent Performances

George Grella | Brooklyn | 08/27/2002

(5 out of 5 stars)

"While not as well-known as the Karajan and Haitink recordings of these pieces, this is a set of superior performances in excellent digital recordings. Tilson Thomas is an assured master of this repertoire, and the Philharmonia is an excellent orchestra.In the popular imagination, these pieces are highly atmospheric tone-poems, which is true in a way, but more than mystery and color, they call for vigor, power and dynamics at the loud end of the spectrum as well as the quiet; 'Le Mer' is not just limpid water, but storms and waves crashing against the shore, which Tilson Thomas brings out beautifully in driving home the first movement. This is also a structured symphonic work, and, even while etching every bit of detail in the score, he weaves together the proper tension and release in the phrasing of each line, especially telling in the final movement, where the coda is alternately held back and pushed forward to great effect.The 'Nocturnes' are as excellent. These are more atmospheric in concept than 'La Mer,' and the color is rich, the singing of the Ambrosian Singers especially effective, sounding otherworldly. While this is an English orchestra, Tilson Thomas brings out a lot of French style color in the instrumentalists and singers, mainly by allowing the details of the score to speak. These performances have never been bettered, and at this price it's a must-own for those interested in Debussy."

A delicate, impressionistic approach to Debussy

Santa Fe Listener | Santa Fe, NM USA | 10/06/2008

(5 out of 5 stars)

"Although Tilson Thomas is far from my favorite conductor, he has a touch with Debussy, as first illustrated in his twenties with a beautiful Images with the Boston Sym. on DG. He doesn't push "La Mer" into being a virtuosic showpiece, which is all to the good. Instead, this is a light, alert account that keeps your attention by dancing on the tips of the waves. The conductor draws gorgeous tonal pictures in pastel, and the Philharmonia exceeds its usual self. The Prelude to the Afternoon of a Faun is gauzy and alluring; the filler, Boite a Joujoux, is a trifle, a kind of Debussian Nutcracker with a quarter of the energy or fun of the original.



It's for the La Mer that I will return -- it could well be the best account ever recorded by an American conductor."