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The same holds true for the L’Arlésienne music. Gonzáles offers an especially peppy Carillon, and a dazzlingly swift Farandole to conclude the Second Suite. There’s no rule that Spanish musicians will play Spanish music with any proprietary authenticity, especially when the Spanish music is actually French, but González and his musicians really do take to Bizet as if to the manner born—with swagger, passion, and (in those lovely bits for flute and harp) real elegance. The sonics are bold and vivid, just like the interpretations. I know, you’ve heard this stuff a million times. Well, make this a million and one. • © 2017 ClassicsToday.com
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