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Gil French
American Record Guide, January 2020

This performance of the Concerto in G major, with its biting and sometimes pounding rhythms, delicious harmonies, and cadences that foreshadow the Concerto for the Left Hand, makes me hear things I’ve never before paid attention to. François Dumont, 34, has total artistic and technical grasp of the music, with plenty of accented high energy and keenly articulated arpeggios in the outer movements. © 2019 American Record Guide Read complete review on American Record Guide

Steven Kruger
Fanfare, January 2020

This is Volume 6 of Leonard Slatkin’s Naxos Ravel series with the excellent Lyon National Orchestra, which features talented brass players, as the best French ensembles do, and inhabits overall an idiomatic affinity for French repertoire. We have here, in fact, a very “Lyon” undertaking. © 2020 Fanfare Read complete review

Huntley Dent
Fanfare, January 2020

…American violinist Jennifer Gilbert is concertmaster of the Lyon orchestra, and she displays a beautiful tone in the long soulful opening of the piece…

I am enthusiastic about Dumont in the Concerto for the Left Hand and not disappointed in the G-Major Concerto, so a recommendation isn’t difficult. One realizes that the discography for the piano concertos contains better readings, but this one comes in very good sound, and the bargain price doesn’t hurt if you are after this particular pairing. © 2020 Fanfare Read complete review

David Hurwitz, November 2019

It’s amazing how many bad recordings there are of Ravel’s piano concertos, so I’m pleased to report that this release does them both proud.

Dumont invests his considerable virtuosity in maintaining a seamless legato and keeping the textures flowing evenly along the entire length of the keyboard. The jazzy central episode really swings, and the final cadenza builds beautifully to the closing pages. It’s definitely one of the better versions released in recent years. Once again Slatkin proves an able partner, with the Lyon orchestra consistently on its toes and the piano balanced realistically against the ensemble. © 2019 Read complete review

Robert Cummings
MusicWeb International, November 2019

I would say the hallmark of this performance is its clarity and attention to detail, both from Dumont and Slatkin's talented Lyon players. Dumont is mostly straightforward in his interpretation but never sounds mechanical or unimaginative.

Naxos provides vivid, well-balanced sound reproduction in all works. The reliable Keith Anderson offers his usual enlightening album notes. I’ll summarise by saying that while you might find better performances of these works individually, I doubt you can do much better with the threesome together on one disc. © 2019 MusicWeb International Read complete review

Phil Muse
Audio Video Club of Atlanta, November 2019

This is Volume 6 in Leonard Slatkin’s journey through Ravel’s Complete Orchestral Works with the Orchestre National de Lyon. Is it his best effort to date? I think it must be, especially given the intricacy and the technical difficulty of the three works for solo instrument and orchestra that we hear on this album.

The soloist in this recording, Jennifer Gilbert, really caresses the repeated turns of phrase that make this work both the great challenge and the great beauty that it is. Imaginative orchestration that includes washes of sound adds to the magic. © 2019 Audio Video Club of Atlanta Read complete review

Colin Anderson, September 2019

Dumont is characterfully supported by Slatkin and the ONL…

Jennifer Gilbert (ONL concertmaster) does Tzigane proud; rich-toned seductive playing (encouraging the hall’s reverberation), intense without coarseness or any sacrificing of intonation; this is a rose-between-the-teeth account, and when the orchestra enters (which takes a while), harp as cimbalom, a paprika-spiced romp is guaranteed, bandanas and earrings sported proudly. © 2019 Read complete review

David Denton
David's Review Corner, September 2019

The sixth volume of the orchestral works by Maurice Ravel comes from Lyon where they still retain those characteristic French orchestral sounds of yesteryear. As you will find in the opening of the Piano Concerto, the shades are delicate rather than the brazen ones we hear today from international orchestras, but then be prepared for a very exciting ride through the first movement, the soloist, Francois Dumont, dazzling with his awesome dexterity. The inner orchestral detail—even in moments only just audible—does owe something to the recording engineers, but more so to the conductor, Leonard Slatkin, and his outstanding orchestral soloists. More gorgeous sonorities in the following Adagio are a prelude to a display of Dumont’s agility in the finale. The grumbling orchestral opening to the Left Hand Piano Concerto prepares for a whole raft of pianistic colours from the soloist, the work’s final bars an outburst of sheer joy. Having, as a very young teenager, driven my parents to distraction as I struggled with the solo violin intonation in the unaccompanied opening to Ravel’s Tzigane, they would have been delighted with this fine account from Jennifer Gilbert, the leader of the Lyon Orchestra. It is a pity the microphone has been placed too close to her Guadagnini violin to obtain all of the nuances of tonal shades. Otherwise the recordings made in 2015 are very good, and I urge you to hear these uniquely French performances that stand beside Vlado Perlemuter’s legendary recordings of the two concertos. © 2019 David’s Review Corner

Lynn René Bayley
The Art Music Lounge, August 2019

Slatkin’s pianist, François Dumont, plays the piano part in the accepted “dreamy” French style: appropriate for much of Ravel’s piano music…

Slatkin’s accents and phrasing here are quite good, however, giving real stature and some needed energy to the music, and as I said, I can accept Dumont’s playing in this work for what it is. © 2019 The Art Music Lounge Read complete review

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