Gaspare's Spontini's French-language La Vestale is probably the most often heard of his operas, but that is not saying much; the work was sung by Maria Callas in the 1950s, but performances are sparse. Here, it is revived in period style by Les Talens Lyriques and conductor Christophe Rousset, and a very good case is made for further attention. The story is action-packed; Julia, in the absence of her lover, General Licinius, becomes una Vestale, a Vestal Virgin and guards a sacred flame. When Licinius returns to town, the flame goes out, and Julia is sentenced to be buried alive. Licinius rallies his troops, vowing to kidnap Julia, and the flame is reignited later by a lightning strike. Spontini's orchestration of this tale is Beethovenian in its dimensions, and despite the difficulties of natural horns, it is exciting to hear this opera as Napoleon (thought to be the model for Licinius) and Josephine (who backed the opera) heard it. The singers are not Callas-level, but throughout, and especially in the choruses, there is a commitment to the text and its meaning that is rare in any kind of recording. Marina Rebeka, in the role of Julia, is fully involved in the character's plight, and the smoky-voiced Aude Extrémo as La Grande Vestale is worth the price of admission on her own. The singers are aided by clear, spacious studio sound engineering from the early opera specialist label Palazzetto Bru Zane, whose high standards are perhaps even exceeded here. © James Manheim /TiVo

Utilising to the full the unique timbres of their period instruments alongside a superb Pleyel piano of 1892, François-Xavier Roth and Les Siècles explore some of Ravel’s major works. With Cédric Tiberghien and Stéphane Degout, two of the finest specialists in this repertory, this recording provides an opportunity to hear many aspects of his colourful, kaleidoscopic world, from the youthful Pavane to the testamentary cycle Don Quichotte à Dulcinée. © harmonia mundi

In 1928 Maurice Ravel described the violin and the piano as “essentially incompatible”. Yet by then he had already composed for those instruments two sonatas (one of which was published posthumously), Tzigane, and the Berceuse sur le nom de [Gabriel] Fauré – a miraculous output for a supposedly mismatched duo! Written for the most part in the early twentieth century, these works reflect Ravel’s interests and influences, including Spain, jazz, blues and foxtrot, Hebrew songs.... All of these pieces show Ravel’s modesty and poetry, and his marvellous ability to bring enchantment to our world. Here Elsa Grether and David Lively present Ravel’s complete works for violin and piano, including two world premiere recordings: Gustave Samazeuilh’s arrangement of the Adagio assai from the Piano Concerto, and a transcription by André Asselin of the mischievous Five o’Clock Foxtrot from L’Enfant et les sortilèges. © Aparté

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After several years of fruitful and close-knit collaboration with the Lucerne Symphony Orchestra, the German conductor Michael Sanderling makes a strong impact with the release of this first record as the new music director of the Swiss group. Recorded one year before taking up his post in September 2021, the programme simply entitled “Transmission” brings together compositions for cello and orchestra by Ernest Bloch, Max Bruch, Erich Wolfgang Korngold and Maurice Ravel – works written at the turn of the twentieth century which all share a deep connection with Jewish tradition. On the cello, the young Edgar Moreau is remarkable in his handling of the instrumental rendition of Hebrew cantillation. Whether in the suite From Jewish Life or in Shelomo, a Hebrew rhapsody for cello and large orchestra, both by Bloch, the soloist wonderfully adapts the spirit of the traditional Jewish cantors and the chromaticism of their melodies. Although Korngold’s Cello Concerto is not directly linked to Jewish tradition in its writing, the composer's Jewish identity is, on the other hand, a principal element in his life. Korngold was one of the many Jewish artists (and intellectuals) who had to flee to the United States to escape the rise of Nazism. After settling in Hollywood, he made a great name for himself as a composer of film music; the Cello Concerto plays a significant role in a key scene from Irving Rapper's Deception, starring Bette Davis (1946).Following the triumphant success of his Violin Concerto No. 1 which unfortunately overshadowed the rest of his work, Max Bruch, at the request of cellist Robert Hausmann, composed Kol Nidrei, a long sorrowful piece inspired by the eponymous prayer that Jewish people recite on the eve of Yom Kippour. Edgar Moreau presents a deeply moving interpretation, with controlled rubato and perfectly measured energy.Originally written for piano and voice, Ravel's two Mélodies hébraïques are presented here in their orchestration by the composer himself from 1919. The way Ravel has integrated the Jewish liturgical tradition into his musical universe has always been captivating - particularly in L'énigme éternelle, where the dissonances created between the melody and the orchestra surround all with an air of enchanting mystery, keeping in theme with the title. © Pierre Lamy/Qobuz

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EMI's U.K. collection of Edith Piaf, titled Éternelle, is quite a nice set that includes many of Piaf's numerous hits, such as "La Vie en Rose" and "La Goualante du Pauvre Jean." Overall, Éternelle is comparable to the U.S. mainstay on Capitol Records, The Voice of the Sparrow: The Very Best of Edith Piaf, but with only seven of the 18 songs overlapping.© Gregory McIntosh /TiVo

Francis Poulenc dreamed of a great vocalist who would sing his melodies like la Tosca: that is, with a great, operatic voice. Jessye Norman's voice certainly fit the bill. This album is dedicated to French melodies, and it tells of Norman's love for France – a love which was mutual – and of her knowledge of the French repertoire. In this well-selected programme, Jessye Norman offers a kind of sampler of French melody, starting with Henri Duparc and his successful synthesis of German Lied and French melody. There follow two Hebrew melodies that illustrate Maurice Ravel's breadth of mind, before we end on the very Parisian melodies of Poulenc and Satie. This is a record of pure delight, all the more so as the American singer, discreetly supported by Dalton Baldwin, makes the words effortlessly intelligible, with a diction equals a great many French singers. A treat. © François Hudry/Qobuz