Secret Story is among the more provocative recordings in Pat Metheny's oeuvre. Combining the relaxed groove of the early Pat Metheny Group recordings, it is full of odd sounds, exotic instrumentation, and the participation of members of the London Orchestra conducted by Jeremy Lubbock. Along with regular group members -- bassist Steve Rodby, drummer Paul Wertico, percussionist Naná Vasconcelos, pianist-keyboardist Lyle Mays -- numerous guests adorn these tracks as well: bassists Charlie Haden and Will Lee, percussionist Armando Marcal, vocalist Mark Ledford, jazz harmonica legend Toots Thielmans, Gil Goldstein, and Pat's brother Mike Metheny. But what's most notable is that none of these players are constants, as this is most certainly a Metheny solo effort: Secret Story is his own song, so to speak. His acoustic and electric guitars are augmented by synthesizers and samplers, and no matter how lush these proceedings get, they are never overwhelmed by production. Metheny is one of the few jazz musicians working today who completely understands what technology is used for, and his production never overwhelms his compositions. The entire disc comes off as a sort of interior travelogue, a heart's remembrance, a memento mori; it is one of the most emotionally expressive recordings in his career. "Above the Treetops," the album's opener, which features Haden and the two percussionists, is so utterly exotic and poetic it feels like the opening number in a soundtrack (and perhaps that's what it is); it's based on a Cambodian hymn titled "Buong Buong." The sound of a children's choir singing the hymn is sampled into the synth lines that delicately open the track. Percussion slips in and out sparingly, Haden's bass offers a heavily reverbed backbone for the structure of the tune, and Metheny's acoustic guitar and synthesizers cover the rest. It is a reflective and meditative moment that contains a kind of dignified majesty that builds up to his beautiful nylon string solo, the bluesy and grooving "Cathedral in a Suitcase.""Cathedral in a Suitcase" showcases a slight return to Metheny's employ by Danny Gottlieb with a series of beautiful cymbal rolls, and drummer Steve Ferone and Marcal on percussion. But it's Metheny with all of his keyboards and the orchestra that truly hold the day, providing a lush, cascading sequence of changes that offer the entire notion of majesty and travel. There is a sense of wonder and awe with all the euphoric drama that is so inherent in his compositions. One is taken from reflection to moving through a doorway and out into the world, watching it as it passes by through a windshield before the individual dissolves into its identity, only to emerge once more to be transformed. The pulse of the keyboards is enhanced by the utter grandeur of the strings. The ten-minute "Finding and Believing" is almost a tone poem that begins with a funky Latin rhythm. The funky sound of synths, electric sitar, and other strings is balanced by that popping bassline played by Lee. This is a suite, full of texture, dimension, and drama that becomes something wholly other from beginning to end as the orchestra adds expressionistic and elegant dissonance to the rhythm driven proceeding. There are simpler moments, too, however, such as the guitar piece "Sunlight," with Mays on piano, and Lee and Rodby on electric and acoustic basses. Its easy groove is a resting place in this ambitious work but is so melodically sophisticated, it is another adventure, albeit a simpler one.Gil Evans could have scored the meld of strings and nylon string guitar on "Always and Forever." "See the World" is a more "traditional" Metheny guitar jazz number, full of lithe syncopation, textural and rhythmic changes, and that striated sense of melody of his that is complex but hummable. The horns and strings add to its sense of grandeur and grace, but it continues to reach ever higher for something seemingly unattainable. Ryan Kisor's trumpet and John Clark's French Horn are also in attendance with Mike Metheny. "Antonia" is so lovely and heart-rending as to be nearly unbearable in its beauty, and Metheny's electric guitar solo is among the most expressive in his recorded career. The groove goes deep and wide, yet it hovers and floats. The strings pulse around it, percussion underscores it, and the melodic frame of the track is open and amazingly delicate. "The Truth Will Always Be" is another suite, a reflective one that goes to the core of what this record is about: it is about love discovered, grasped onto, and lost. It is every bit as regal and poetic as Debussy without the notion of classicism. Despite the lush production in these tunes, on this one it is revealed that these elements are here simply to protect the protagonist from emotions that are so profound and unsettling and tender as to be nearly unbearable. Strings slip in and around Metheny's guitar. He lets it bite in just the right places, and more than this, he lets his single lines sing. The strings enter forebodingly into the last cut, "Not to Be Forgotten (Our Final Hour)," but they give way to something simply melancholy that contains all the beauty and heartbreak of the world, the entire recording of a relationship in just over two minutes. The silence at the end of Secret Story is pregnant, almost breathtaking. At the end of 76 minutes the listener cannot help but be absorbed in reminiscences both pleasant and painful, and becomes an empathetic, and perhaps even a sympathetic witness to and participant in Metheny's magical sound world. [Secret Story was reissued with a bonus disc in 2007.]© Thom Jurek /TiVo

Francis Poulenc's La Voix Humaine ("The Human Voice") is a one-woman opera, less than an hour long, about a woman on the phone with her boyfriend as they break up. Set to a text by Jean Cocteau, it puts the woman through strong mood swings. (Country music fans may wish to compare it to As Soon as I Hang Up the Phone, although there, the boyfriend is present to deliver the final blow.) Soprano Véronique Gens is best known for music from the 17th century up to Mozart, but it is easy to believe the claim in the publicity materials for this release that she had always wanted to record this work; its direct, conversational quality, interspersed with occasional freakouts, fits her manner beautifully. It might seem that those freakouts require a bit more intensity than Gens gives them here, but that is not really in the Cocteau spirit and certainly not in the Poulenc spirit. Gens receives sensitive support from the Orchestre National de Lille under Alexandre Bloch, who also ring down the curtain with a lithe performance of the joyous Sinfonietta. There are other strong performances of Poulenc's little opera, which ought to be much more frequently heard and would be ideal for university voice programs, but this one is instantly appealing and quite memorable, and it is no surprise that it made classical best-seller charts in early 2023. © James Manheim /TiVo

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Francis Poulenc's late opera La voix humaine (1958) seems ideally suited to the age of cellular telephony, and indeed, it is showing signs of revival with several new productions. This 2023 recording by soprano Julie Cherrier-Hoffmann and the Orchestra del Teatro La Fenice di Venezia should contribute to the trend. La voix humaine is an operatic monodrama, but of a modern kind; the single character is a woman, simply named Elle (She), talking on the phone, being dumped by her boyfriend, and hinting at suicide. The text was written by Jean Cocteau in 1930, when dropped phone calls were no doubt common, but it works perfectly in a contemporary setting; the phone conversation is interrupted by panicky "Allô allô" interjections. Poulenc's musical language for dealing with this text is remarkable, and it is not like that in any of his other compositions. The singer is unaccompanied when she is directly addressing her hearer, while the passages in which she narrates events are accompanied by the orchestra. This creates an uncanny impression of an actual phone conversation. Poulenc's harmonic language here is quite modern in comparison to his other works, not quite atonal but shorn of the popular tinge present in so much of his work. Cherrier-Hoffmann's performance is appropriately stressed out, and she is shown in the graphics with her hands splayed across a window as if trapped. Conductor Frédéric Chaslin emphasizes the orchestra's big, operatic sound, and this works; the engineering makes no attempt to disguise the opera house acoustic. Chaslin also contributes orchestrations of smaller Poulenc voice-and-piano works; these frame the opera and return the listener to the usual Poulenc world. This is an unusually satisfying Poulenc release and a fine performance of a work whose reputation is on the way up.© James Manheim /TiVo

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Romanian composer George Enescu's 1931 opera Oedipe is an epic work on several levels, including its dramatic scope -- from the protagonist's birth to his death -- and in the huge performing forces it requires. It stands for the most part outside the modernist or post-Romantic operatic conventions of its time and inhabits a sound world that uses a familiar harmonic language, but in idiosyncratic ways. The composer's Romanian roots and the influences of impressionism are in strong evidence, but the work isn't easily pigeonholed; it has moments of rough folkloric primitivism, meltingly lush romanticism, elegant delicacy, and surprising experimental techniques. Oedipe was Enescu's only opera, but he shows a sure hand in the vividness of his musical characterizations and in creating dramatic tension, which the story has in abundance. The opera's finale is absolutely stunning, with wave after wave of surging, astonishing grandeur that finally subsides into an ending of breathtaking serenity. This recording, with the Orchestre Philharmonique de Monte-Carlo, Les Petits Chanteurs de Monaco, and the chorus Orféon Donostiarra, conducted by Lawrence Foster, features a star-studded cast that includes José van Dam, Gabriel Bacquier, Nicolai Gedda, Brigitte Fassbaender, and Barbara Hendricks. The performance and production values for the release are exceptionally high and make a compelling case for the opera. Foster could have paced the opera's conclusion more broadly and expressively, but otherwise his reading is fully engaging. Enescu writes beautifully for the voice, and the entire large cast sings with gorgeous tone and deep conviction. Van Dam is overwhelming in the title role; he is on-stage for virtually all of the second, third, and fourth acts, and he ages convincingly from an impetuous youth to an old man. His portrayal of the troubled protagonist is warmly compassionate, and his voice is rich and searingly powerful; he has all the charisma required to pull off a memorable depiction of one of history's most famous archetypes. Most of the other roles are relatively brief, but Barbara Hendricks and Marjana Lipovsek are standouts as a sympathetic Antigone and a maniacal Sphinx. EMI's sound is full, clean, and enveloping, with excellent balance. On the basis of this exemplary recording, Oedipe clearly has the musical and dramatic values to merit serious consideration for revival by adventurous companies, and exploration by fans of modern opera.© TiVo

Released in 2005, La Vie Theodore is Alain Souchon's twelfth studio album. Keeping pace with the mainstream of mature French pop, the sounds of electronic and organic percussion meld seamlessly with electric and acoustic guitars, piano, organ, and synth. Souchon's reliance on hooks here heavy: tracks such as "Putain Ça Penche" and the reggae-tinged "En Collant l'Oreille Sur l'Appareil" employ rock & roll, but the sounds of electronic drums push them toward the dancefloor. Other cuts, such as the title cut, "Le Mystere," and the beautiful closing ballad, "Lisa," are more traditionally Souchon in modern chanson style.© Thom Jurek /TiVo

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