Despite an impressive discography, until this album Andrew Litton had never managed to beat a path to my shelves. Given the fierce competition that exists around these undisputed masterpieces of the twentieth century, if integration is late, it is all the more appreciable. At the head of an orchestra to pictorial sounds and instant dynamic, the British leader addresses this music without complexes or prejudices. Also, it is in its original form from 1911 he chooses to interpret us Petrushka (one of the most complete scores by Stravinsky). Played less than version 1947, more narrative that Symphony - this perhaps explaining this - this partition is the best yet, if only by derision and violence that inhabit it. By his attention to detail (trueness volume instruments, harmony between the desks, respect contrasts), and also thanks to its evocative powers, countless reasons combine to create a thrilling atmosphere, creaky and popular. It's beautiful. In The Rite of Spring, commitment is just as significant. Without being too "carnivore" - too pagan shall we say - a beautiful place Litton mechanical transmission to the well oiled. Attentive to the choreographic and musical uses, it gives to the rhythms and timbres of equal importance. Nervous, but not too violent, reading well punctuation marks and tone. Turning his back to the demonstration, but not spectacular, its management of orchestral masses is impressive, both in its inception and its textual coherence. To summarize the Sacre, I would say that one spring listening in a state close to hypnosis than drunkenness. If the analytical style of Pierre Boulez (DG 1992, see here) ails you, or if the approach of Esa-Pekka Salonen (DG, 2006, see here) you seem excessively "Sound", then there is strong chances that this version is correct. Taking her to match.
