John Smyth wrote:

>Well, I asked if anyone has had the opportunity to hear both the Maazel
>and Dutoit versions of Ravel's stunning little opera, "L'Enfant et les
>Sortileges--but no response as of yet.  So (sigh) I took matters into my
>own hands.
>
>Summary from the busy non-executive--whatever recording you choose, do NOT
>pass through this world without getting to know L'Enfant.  If this work
>doesn't move you--from the child's first sight of the princess, (one of the
>greatest moments in all of music), to the forest scene and on to the final
>choral apotheosis--than *you* are an iceberg.

Thus confronted, I have to admit I didn't reply because I didn't meet
the criteria.  I'm not much of a fan of Dutoit so I never bought that
recording.  But I've had the Maazel for years, and it's a treasure just
as described.  Then again, maybe I should have given Dutoit a shot.  Ozawa,
one of my least favorite conductors led a terrific performance of L'Enfant
with the Boston Symphony not too long ago.  There are two (I think) by
Ansermet that I've never heard either.  I guess I have always been that
happy with Maazel.  I remember it as one of his best recordings and it
came early in his career.

>Second moment: (Forest scene) After a uniquely Ravelian description
>of insects, frogs and toads, (again, one word--astonishing);

When I was young, this was one of my favorite moments in all of music.

I have nothing substantive to add but to say that of all the works I've
heard depicting animals (not many, obviously), this one is the most
eerily authentic.  Ravel, as we all know, simply had an astounding ear.

Roger Hecht