One might have thought that the exceptional nature of this opera, lull of vague thoughts and understated music, would prove elusive on disc, but Boulez's much praised 1970 recording, made after his performances of it at Covent Garden, reappears amid a positive welter of recommendable versions of the work, making choice increasingly difficult. His long introductory essay that accompanied the original LP issue, setting out his ideas on the opera and its casting, has unfortunately now been dropped; but in particular he made a point of the importance of the orchestra — "to reduce the score to an accompanied recitative is conspicuously to betray it" — and under his direction the orchestral sound is truly splendid, reflecting his reaction against the "bloodlessness" with which the drama is often presented.

The French of his completely non-French cast (contrasting with those of Dutoit and Jordan Decca, 3/91 and Erato, 12/91 respectively) is let down only by George Shirley—I am surprised that Boulez did not insist on something being done about his poor vowels—and though, as a tenor, he conveys Pelléas's youthfulness, his tone is rather unyielding for much of the time. The other slightly disappointing piece of casting is David Ward, who makes old Arkel sound merely glum (though that seems to have been the reading Boulez wanted). But the strength of this performance lies with the intelligent and vocally assured Sdderström and with Mcintyre's superb character study of Golaud, against his will eaten up with a jealousy that drives him to near-madness; and exceptionally good is the boy Anthony Britten as little Yniold. The recording, always very satisfying, is now "enhanced using 20-bit technology", if you know what that means: at any rate, it sounds fine to me.

-- L.S., Gramophone [4/1992]

Classical Music

This second release from Globe Music celebrates the 400th anniversary of Shakespeare’s death by recording the music from two legendary and Tony and Olivier award-winning productions that enjoyed sold-out runs on Broadway, the West End, in the cinema and at Shakespeare’s Globe. Featuring Mark Rylance and Stephen Fry. (Globe Music)

Tenor saxophonist Kalaparush Maurice McIntyre recorded as sideman on the legendary first AACM recording, Roscoe Mitchell's "Sound" (DMK #408). He went on to record "Humility in the Light of Creator" (DMK #419) and "Forces And Feelings" (DMK #425). Though he was continually active on the New York avant-garde scene, Kalaparush didn't return to the Delmark roster for 27 years until 1997's "Return of the Lost Tribe" (DMK #507) by the group Bright Moments. Here Kalaparush leads his own trio with Jesse Dulman on tuba and Ravish Momin on drums. "Morning Song" is an amazing document presenting Kalaparush's musical beauty, simplicity, power and spirituality.

Tenor saxophonist's second session from 1970 w. a group he called "The Light", feat. Sarnie Garrett-guitar, Fred Hopkins-bass, Wesley Tyus-drums, Rita Omolokun-vocals.