French Touch is soprano Petibon's 2003 release which features the works of such French composers for example Delibes, Massenet and Offenbach to mention a few. Petibon sings with much enthusiasm and joy which makes it a very enjoyable recording. Yves Abel leads the national orchestra and choir of Lyon. On track she sings duet with mezzo-soprano Karine Deshayes.

Jordan catches particularly well the immediacy of expression of these delightful pieces; note the force and amplitude of the conclusions to ''Danse villageois'' and the ''Scherzo-Valse''. He does excellently, too, in what Cortot described as ''the truculent flavour, unbuttoned and cheeky exuberance'' of España, and in the ''Danse slave'' from Le roi malgre lui, a quite similar piece.

Featuring two of the most prominent European classical musicians of their time, ZINO FRANCESCATTI & ROBERT CASADESUS features both individual performances and duets. Francescatti was perhaps the finest violinist of the mid-20th century; coming from a family of musicians, he was a child prodigy who gave his first concert at the age of five. Casadesus also came from a musical background, and won acclaim throughout his career as a technically perfect pianist and fine classical composer. The pair collaborate here in performances of works by Beethoven, and individually perform work by composers as diverse as Debussy and Bazzini.

John Wilson and Sinfonia of London release their second album, following widespread and universal critical acclaim for their first recording, of Korngold’s Symphony in F sharp. This new recording explores the unique sound world of French orchestral music of the late nineteenth and early twentieth centuries. The programme juxtaposes well-known favourites, such as Debussy’s Prélude à l’après-midi d’un faune, Massenet’s ‘Méditation’ from Thaïs, with pieces far more rarely heard, for example Duruflé’s Trois Danses and Saint-Saëns’s Le Rouet d’Omphale. Many of these works evoke the ‘exoticism’ of Spain or North Africa (as was the fashion in French music of this era), and all share the intricate, detailed orchestration that defines the ‘Impressionist’ style.

Chabrier’s extraordinary, if incomplete, opera is surely a precursor to Salome and approaches even that most lurid work in the gloriously opulent sensuality of its music. Performed at the Edinburgh Festival by some of the greatest singers of the day and recorded live by Hyperion, this thrilling performance stunned critics and public alike. A genuinely wonderful discovery.

The Glière is the most ambitious work here, running for nearly 23 minutes, almost a record length for a horn concerto. It is very florid and romantic—its unlikely model is Tchaikovsky's Violin Concerto, to which it comes nearest in the finale which is a lively Russian dance. Although some of the material is ingenuous, notably the march rhythm of the first movement, it is quite a jolly piece and has much in common with the Richard Strauss concertos. Otherwise the best known work is the Dukas Villanelle which Dennis Brain liked to play, and which is attractively diverse in mood and style, although essentially a miniature.

Chabrier remains poorly known and very little recognized by the French public. And listening to these recordings, we wonder why! Yet, this composer, a true alchemist of instrumental timbres, embodies the quintessence of the French spirit in music: freshness and delicacy of melodic inspiration, subtle humor in the treatment of his harmonization, orchestration of a wealth of colors and nuances unusual, great elegance of style. These qualities, or even these virtues, are perfectly illustrated in the "Pastoral Suite" which opens this record in a light atmosphere mingled with sweet melancholy and rustic joy. Of course, you can not escape the tube "España". But how to sulk his pleasure when it is the Vienna Philharmonic Orchestra itself that sets fire to the powders!?! Throughout this record, John Eliot Gardiner takes advantage of the splendid sound of Viennese in the service of this music more elaborate than it seems.

– David Waléra