Follow my guide to Ravel's finest recordings
The almost faultless new recording is compiled from two performances last year by the London Symphony Orchestra under Antonio Pappano. Pappano's immense talent as a conductor is unquestionable and there are numerous examples of the breadth of his range and depth of his insight in other recordings on the LSO Live label, whence this comes.
Recently, John Wilson, another conductor who appears able to do no wrong, brought out a disc of orchestral works with the Sinfonia of London, on Chandos, which includes a stunning account of the composer's orchestration from 1919 of his piano masterpiece Le Tombeau de Couperin. Wilson, who has produced several first-rate Ravel recordings, judges the orchestral textures perfectly. He is well served, in a piece Ravel made into an instrumental showpiece, by an ensemble packed with virtuosi. As ever with Chandos, the sound engineering is superlative. The label has also issued a double album of Ravel's complete works for solo piano by Jean-Efflam Bavouzet, the Frenchman whose considerable abilities are overdue for proper recognition outside his home country.
In my own extensive collection there are several Ravel recordings to which I return repeatedly, and I do not hesitate to recommend them. A rare pianist who surpasses Bavouzet is Samson François, a prodigy who died in 1970, aged just 46, after a life of excess, but whose abilities were astonishing. A six-CD box set includes not just the complete solo piano works but also Ravel's two piano concerti played by François with the Orchestre de la Société des Concerts du Conservatoire, conducted by the Belgian-born André Cluytens.
The box set also includes Cluytens conducting the same orchestra in Ravel's complete orchestral works. One wants this set for François, but Cluytens's interpretations of Ravel's orchestral works are among the best available and show a deep understanding of the composer.
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Benedetti & Sitkovetsky's Tribute to Menuhin
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Sitkovetsky Trio ★★★★★ Queen's Hall Even the sudden, ear-shattering roaring from a forgotten turned-on microphone couldn't put the Sitkovetsky Trio players off their stride. They'd just launched into the furious scherzo of Shostakovich's Second Piano Trio when the noise forced them to stop, only to begin the movement again even more vehemently, even savagely. The interruption probably couldn't have come in a more fitting place - and they continued with a deeply tragic slow-movement chaconne, all sobbing phrases against a monumental piano backdrop, and a bitter, grotesque finale that left few doubts as to Shostakovich's vitriolic sarcasm. Advertisement Hide Ad Advertisement Hide Ad It was typical of the Trio's intensely felt, forcefully projected performances across their programme of classics and rarities. In the second category, the Sitkovetsky players made a thrillingly strong case for Chaminade's little-known Second Piano Trio, revelling in its almost orchestral-scale textures and churning emotions, even if their more recent commission, To the Pointer Stars by Iranian-born, London-based Mahdis Golzar Kashani, proved a little more elusive, slipping into attractive grooves that seemed to lack a sense of forward movement. They opened, however, with a bounding and big-boned Beethoven 'Ghost' Trio, perhaps overegging the second movement's unsettling otherworldliness, but offering a finale in grand arcs of sound that was both captivating and galvanising. Despite unexpected sonic intrusions, a concert of compelling performances and profound emotional depths. David Kettle Benedetti & Sitkovetsky's Tribute to Menuhin ★★★★ Granted the rarely bestowed Freedom of the City of Edinburgh 60 years ago in recognition of his contribution to Scotland's capital, much of it via the Edinburgh International Festival, legendary violinist Yehudi Menuhin would surely have been proud of the tribute paid to him on Monday evening at the Usher Hall. Led by Nicola Benedetti and fellow violinist from her Menuhin School days, Alexander Sitkovetsky, it was an evening of poignancy and affection from the joint directors and players of Wroclaw's National Forum of Music, appearing as part of the EIF's focus on Poland season. Hearing the pair as an infectiously joyous alliance in Bach's Concerto for Two Violins was one of these unique festival moments that leave an indelible mark. Advertisement Hide Ad Advertisement Hide Ad Fluent and well matched in tone and style, the second movement's interweaving scoring of the solo lines gleamed with radiant beauty. To start, Elgar's Serenade for String Orchestra, with EIF Rising Stars swelling the ranks, was promising in intent but not quite sufficiently settled across the ensemble. A different matter, however, when they returned for Bartok's Divertimento for String Orchestra, with its folksy and fulsome bite and energy, especially from the lower strings. Carol Main Triptic ★★★★ The Hub Violinist Greg Lawson, pianist and accordionist Phil Alexander and double-bassist Mario Caribé have played together for many years, notably in the much-loved Moishe's Bagel, purveyors of klezmer, tango and much else. Now, as the trio Triptic, they continue to gleefully defy categorisation. Their engagingly melodic and tightly delivered repertoire from their new album, The Jackdaw Sessions, reflected diverse musical influences and sources of inspiration. Alexander's opener hinted at Erik Satie, played over a stately, descending bass, until Lawson's klezmer-sounding violin soared to stratospheric trilling. Another, plaintive, Jewish-sounding air had been unearthed recently in Kiev, while Caribé's Flatlands, with its resonant bass work, was inspired by Lincolnshire scenery. A pensive waltz by Alexander commemorated a much-loved cocker spaniel, while a lusty rumba by Caribe celebrated his venturesome Spanish-Brazilian grandmother, its energetic progression from minor to major reflecting Spanish then Brazilian rumba styles. Advertisement Hide Ad Advertisement Hide Ad There was much humanity about it all, as in Lawson's twinning of the lovely Northumbrian lullaby Bonny at Morn with a spirited, tango-like number which had been passed on to him, amid heartbreaking circumstances, by an Iranian refugee, and not least in Phil Alexander's winsome epilogue, Evening Song, with which they dispatched us on our way.
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This local Quebec spot wins first-ever North America's 50 Best Restaurants award
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16 hours ago
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Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) IT'S one of the most sought-after buys of this year. But now Brit parents have been issued an urgent warning over the viral Labubu toys. Sign up for Scottish Sun newsletter Sign up 3 Labubus have captured the heart of the internet and have sparked a frenzy Credit: AP 3 British authorities have seized hundreds of thousands of counterfeits - which can also pose a serious health risk Credit: 3 Authorities in the UK have started issuing warnings about the dupes Credit: Intellectual Property Labubus are undoubtedly the toy of 2025 - with big names, such as Rihanna, David Beckham, Kim Kardashian, Gemma Collins and Olivia Attwood showing off the little monsters. With their devilish toothy grins and wide eyes, Labubus have captured the heart of the internet and have sparked a frenzy, with mile-long queues lining up to get their hands on the toys. A single doll can set you back anywhere from £13.50 to £211 depending on the rarity of the design. But dodgy dealers looking to make a quick buck are using underhand tactics to profit off shoppers - and experts have warned the dodgy dolls pose a serious risk. The ''dangerous counterfeits'' could pose a choking hazard for children, Hull City Council's Trading Standards team told Mail Online. Rogue traders are cashing in on their popularity by selling poor-quality versions with small parts that can easily detach. Hundred have been seized, but it is feared there could be many more still on sale across the nation. However, there are also easy ways to check if you have purchased a fake Labubu. The dodgy dolls tend to have matt packaging rather than glossy and more or less than the nine gnashers the original Labubus have. A different shape or size of the mouth can also be an indicator you've bought a dangerous counterfeit. Dramatic moment crowds join massive queue to grab viral Labubu dolls as latest doll craze sweeps across the world The quality of a fake Labubu will also be of poorer standard, like wobbly limbs and odd colours. To really know if you've got the real deal, buyers of newer editions will find a UV-detectable seal on the right foot. Under UV light, shoppers should see a silhouette of the specific Labubu model. It's understood more than 100,000 counterfeit dolls have already been seized by UK Border Force, arriving in the country in fast parcels or via air cargo. What are Labubu and why are they so popular? LABUBU is a brand of plushies designed by Hong Kong-born artist Kasing Lung and loved by celebrities like Olivia Attwood, Dua Lipa and Rihanna. The brand made its debut in 2015, but skyrocketed in global popularity after hitting Pop Mart shelves in 2019. Pop Mart is a Chinese toy retailer, known for its collectible designer models that are often sold in a blind box format, meaning you don't know what you've got until you've opened it. After mammoth success overseas, the Labubu craze has now made its way to the UK. The first three months of 2025 were wildly successful for the brand, with Brits searching high and low to nab one of the quirky figurines. Since opening stores in London and Manchester over the last 12 months, Labubu dolls have become cult collectibles among grown British women. Labubus come in an array of vibrant colours, unique shapes and various sizes, spanning from plush toys to striking vinyl figures. They come as little toys you can hook on your handbag, as well as mega-sized figures and quirky home decorations. The "monster elves" are sold in blind boxes, meaning consumers can't see their new doll until it is unwrapped. This clever marketing tactic designed to build suspense has been deliberately exploited by counterfeiters who are packing the boxes with cheap dupes. The fake dolls are known as Lafufus and they are flooding the global market - selling for as little as £2.99. Councils have warned that children in Scotland and Wales have fallen ill following exposure to the dolls. Helen Barnham, Deputy Director of Enforcement at the Intellectual Property Office, told The Sun: "We're seeing criminals increasingly exploit viral toy trends, with counterfeit versions of popular products appearing within days of them going viral. "These counterfeit toys are unlikely to have undergone the rigorous safety testing required for genuine products and can pose serious safety risks. "Children's safety must always come first, and we encourage parents to always research products thoroughly and only purchase from trusted sources."
