The Woodcutters chorus and the episode in which Elisabetta gives her necklace to a destitute woman are pages essential to the structure of the whole opera: they articulate around that plangent acciaccatura which, as a micro-Leitmotiv snaking through the entire course of the opera, will drill into Filippo’s aria. The effect is greater at that later point if the numerous times it has played—especially at the very beginning—has been indelibly impressed into our minds, allowing us to recognize it in each of its appearances. Read more »
“Parade” is defined simply by the Merriam-Webster Dictionary as “a pompous show.” Fitting enough, then, that the triple bill titled Parade: An Evening of French Music Theatre recorded at the Met on March 16, 2002 consists of Erik Satie’s ballet Parade, Francis Poulenc’s Les Mamelles de Tirésias, and Maurice Ravel’s L’Enfant et les Sortilèges. These three short works showcase some of the most pompous, magical, absurd and beautiful music and drama in early 20th century French writing. Fitting, also, that this CD will be included in the pompously large James Levine 40th anniversary box set to be released in September. 
Cher Public