Namouna Ballet suites (2010)

"Among too many stupid ballets," Debussy wrote at the turn of the century, "Lalo's Namouna is something of a masterpiece." Such an estimation is well in keeping with the score's glowing color, melodic richness, rhythmic verve, and overall vibrancy. And Debussy confirms his admiration by breezily alluding to its sérénade in the Assez vif et bien rythmé movement of his own String Quartet. Given the constraints under which Namouna was composed, one can only marvel at its wealth of ingratiating invention. (...) Namouna's premiere on March 6, 1882, was unsympathetically received, very likely because, striving for antiphonal effects, Lalo had groups of instruments not only in the pit, but on stage and in the front boxes. When these were placed together in the pit after the third performance, audience objections thinned, but Namouna was allowed a disappointing run of 15 performances. (...)