Having recorded Firebird and Rite of Spring, Klaus Mäkelä & Orchestre de Paris complete the triptych of ballet scores that Stravinsky composed for Diaghilev between 1910 and 1913 with the 1911 Petrushka (albeit in the 1947 revision, smaller orchestra, changes of scoring). It’s a very bright-sounding recording (9/2023, Philharmonie de Paris) conveying a vividly detailed account (with a few incidents new to these ears) set in a reverberant acoustic (post-production addition?), which can muddy things at times (ironic if we’re actually in the Boulez Salle), a reasonably well-characterised performance that holds the attention with no lack of theatrical intent. (By the way, Bertrand Chamayou has been imported to play the piano part, extended in 1947, which he does admirably, but I wonder how OdP’s regular keyboardist feels at being sidelined for a ‘name’, if that’s what happened.) From Debussy: Jeux – not refined, mysterious or as dulcet as it can be, or lit enough from within, if sensitive to nuance – and Prélude à l’après‐midi d’un faune, which opens with a distinctive flute solo, vibrato to the fore, cueing an emotionally seductive and highlighted reading. Decca 487 0146.