Notes and Editorial Reviews
Ravel's luminous score rarely fails to work its magic, and this account by forces from Dallas is no exception. Although the orchestra is not in the absolute top rank by American standards, it is still very good indeed and the playing is superior in richness of string sonority and the sensitivity of the woodwind phrasing to that of the Suisse Romande for Ansermet. True, intonation falls short of perfection in one or two places but these blemishes are few and short-lived and scarcely diminish the attractions of this record. This is, of course, the first account of Daphnis to have been recorded digitally and the sound is very firmly focused and clean while the quietness of the background and the superbly silent pressing adds to the sense of realism. The balance is musically judged and the acoustic has a natural warmth and space to commend it.
-- Gramophone [7/1980, reviewing the original LP release of Daphnis et Chloe]
Eduardo Mata's RCA disc distinguishes itself even among the many fine Ravel recordings currently available. A natural Ravelian, Mata conducts these marvelous scores with affecting passion and unerring stylistic fidelity. What's more, he gets the Dallas Symphony to play with a special sensitivity to the music's peculiarly French nuance, in this case slightly accented by an American brashness that you can hear most prominently in...the punchy brass declamations at the conclusion of Boléro. Mata is particularly attuned to the subtly complex rhythms and pointed accents of Alborada del gracioso and Rapsodie espagnole, but he's no less at home in Ravel's non-"Spanish" music, skillfully balancing the delicate timbres of Le Tombeau de Couperin.
--Victor Carr Jr., ClassicsToday.com [reviewing RCA 68015]