Stravinsky: Petrushka, etc. review – This superb programme makes the most of its folk-inflected rhythms and melodies, writes TULLY POTTER

STRAVINSKY: Petrushka, etc. (Decca)

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Three ballet scores connected by the tragic figure of the great Russian dancer Vaslav Nijinsky make up a magnificent program.

The main work is Stravinsky’s second ballet, Petrushka (Petrouchka in French), which constitutes an ideal vehicle for the young Finnish genius Klaus Makela, who conducts the Orchester de Paris.

He has chosen the 1947 revision (the original 1911 score would have given pianist Bertrand Chamayou more work) and makes the most of the folk-influenced rhythms and melodies.

Makela also does very well with Debussy’s 18-minute Jeux; and my only small criticism is that the flute solo in the Prelude à l’Apres-Midi d’Un Faune has a broad rhythm in its tone.

For the rest, the Parisian musicians play very well for their 28-year-old musical director and we can once again marvel at the music that the great impresario Sergei Diaghilev gave to his audience.

TROTA: Requiem (Hampton Roads)

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A new Requiem is a rare thing and this one, by American composer Michael John Trotta, is beautiful and very accessible.

He is lucky with his performers: the 21 singers of Tenebrae, under the direction of Nigel Short, sing exquisitely and are sympathetically recorded in London’s St John the Evangelist Church.

Trotta’s Dies Irae wouldn’t scare a mouse (it’s quite jazzy) and, in fact, Trotta has trimmed the text of this medieval sequence to prevent sinners from being thrown into hell and so on.

He follows others in giving the Pie Jesu to a soprano soloist (Rosanna Wicks) and supports her with an alto (Elisabeth Paul); they are from the choir, as is baritone soloist Jimmy Holiday.

With two excellent players sharing organist duties, this album will provide comfort and inspiration.

A new Requiem is a rare thing and this one, by American composer Michael John Trotta, is beautiful and very accessible.