The soulful portrait of Anna Vinnitskaya on her new Ravel recital catches the almost alarming intensity of the performances therein. Last year, the Russian pianist gave us breathtaking Prokofiev and Ravel concertos; now she is in more intimate surroundings, meticulously captured by producer Philipp Nedel.
Ravel's Pavane for a Dead Princess sets up a beguiling calm. Vinnitskaya creates a dreamy languor, with a sensuality that makes one feel like chiding veteran pianist Alfred Cortot for dismissing the piece's "slightly syrupy charm".
The 1925 Miroirs is the soul of subtlety. Moths flutter with just the right Ravelian articulation while birds give out their mournful songs in the sort of mists that only come through immaculate pedalling.
The 1908 Gaspard de la Nuit contains three of Ravel's most sharply etched evocations. The beautifully mediated flow of Vinnitskaya's opening Ondine would have impressed the great Vlado Perlemuter, for whom the composer wrote the advice "more melting" on the score of this piece.
Ravel regretted not having orchestrated the final Scarbo but, such are the colours that emerge from Vinnitskaya's Steinway, he need not have worried.
