Customer Rating: 
Summary: As close to perfection as I think it's possible to get
Comment: This is an exceptional disc; Zimerman's phrasing, clarity and control is unbeatable, his complete grasp of the idiom and coloring are without peers. In fact, this is in most - if not all - respects perfect Ravel playing. I am actually hard pressed to find anything whatsoever to criticize (or anything less than perfect) in Zimerman's approach to the G major concerto. It's lucid, balanced, note-perfect (but not mechanical). Quite simply unbeatable. The left-hand concerto is on a similar level, although - just maybe - not as playful as one could imaginably desire.
Boulez and the Cleveland Orchestra furthermore provide the best possible partners, and the same artistic virtues that characterize Zimerman's playing in the concertos are eminently present in the Valses nobles. So is the recording - clear, dynamic and beautiful. In short, as close as you'll ever get to a perfect disc.
Customer Rating:
Summary: A Demonstration Concerto Recording in Every Bit and Piece
Comment: Having spent quite a lot of words on Thibaudet/Dutoit (Jean-Yves Thibaudet - Ravel: Piano Concertos, etc.), Collard/Maazel (Ravel: Piano Concertos; Pavane pour une infante défunte; Jeux d'eau; La valse) and Lortie/de Burgos (Ravel: Piano Concerto for the Left Hand in D major, Piano Concerto in G major; Faure: Ballade, Op. 19), I will now, at least try to, be more brief: Here we have one of the most beautiful, pristine and spectacular concerto recordings in the stereo era! How is that possible? Well, looking solely at the line-up, it is a bit surprising: Boulez conducting the Cleveland and London Symphony Orchestras in Ravel. Oh, and then there is Krystian Zimerman as soloist in the Concertos.
I believe that last bit explains it all. Through Zimerman's unbelievably imaginative pianism, each and every bit and piece just surpasses itself--which is especially true for Boulez, who for ones gets behind the notes and almost catches fire at times. As a matter of fact, his Valses may well be the most exciting in a very long time. Still, they are makeweight to the Concertos. So, back to Zimerman: Throughout, his technical refinement is at a level where few living pianists can rival him--e.g. the first movement opening figure and cadenza (listen to those trills!), the total pristine naturalness of the second movement angelic melody (this is most likely one of the tracks they play in paradise), and the astounding articulation of the third movement alternate quints and runs; the F-sharp minor transition at 6:15, the articulation of the 'Bolero' section from 8:24, and last but not least the magical three-minute end cadenza at 14:09. Even if the first movement of the G major shows microscopic traces of detachment, the D major belongs in the Idea World.
If this wasn't enough, also the DG engineers surpass themselves into one of the best demonstrations of how to record a piano concerto. No flaws whatsoever? Perhaps the pedal noise could have been slightly tidied up in the G major slow movement, and perhaps the low bass could have been somewhat less dominating in the D major. Other than that, no.
Ravel's twin Concertos belong to the most rewarding in the repertoire. Zimerman presents the best one-disc coupling. Having said that, my life still wouldn't be complete without Argerich's 1968 G major and Gavrilov's 1978 D major. Oh, you think I forgot the Michelangeli/Gracis in the G major!? No, certainly not, being on the short list of most 'professional' reviewers; and clearly it is good, if perhaps not as good as often suggested--IMHO, Michelangeli completely ruins the flow of melodic beauty in the Adagio assai with those tacky breaking of hands.
Customer Rating:
Summary: High quality piano music
Comment: Zimerman shows an example of extraordinary mastery in the Left Hand concerto, look at the ending cadenza there! It is absolutely amazing and this CD is worth buying a thousand times.
Customer Rating:
Summary: Peerless Ravel-Astounding, Heart Stopping
Comment: I have adored the 2 Ravel Piano Concerti since high school and I have heard every existing recording of these masterpieces. Nothing compares to the interepretations of Zimmerman, especially in the Left Hand Concerto. The opening solo cadenza is truly breathtaking and accomplishes what Ravel intended--that the absence of the right hand would not diminish in the least, the virtuosity of the piano part. Zimmerman has an uncanny ability to bring rhythmic flexibility and freshness in every measure and the concluding cadenza has never been played with such power and moving commitment to Ravel's score. I adore Alicia de Larrocha's recording but Zimmerman easily takes the first prize. Pierre Boulez' conducting is always impassioned and thrilling. A must for any lover or Ravel and the piano.
Customer Rating: 
Summary: Not quite the summit
Comment: There are some collaborations that are miraculous, where soloist, conductor and orchestra see as one with the score, where everyone seems to arrive at the same point spontaneously and, seemingly, effortlessly, and the music transcends the written score.Unfortunately, this isn't one of those recordings. I'd hoped it would be. We have Krystian Zimerman, one of the greatest pianists alive. We have Pierre Boulez, a man who's had half a century to think about these great works. We have the Cleveland Orchestra, one of the greatest orchestras and one Boulez performs with often. Yet I feel everyone here is just trying too much. They hit this music too hard, with exaggerated crescendoes and tempi fluctuations, and mannerisms that to me seem out of place for such direct music that should sound almost improvised. The "jazziness" (and jazz was a model for Ravel's concerti) is gone. Dynamics range from VERY LOUD to barely audible. Again, though impressive, I feel it's a little too much--this isn't Mahler. It's all immaculately played and beautifully recorded, with lots of inner detail, but I think we expect that from this crew. The problem is, I don't get any new insights into the music. And the Waltzes are "limpy," or wooden-legged. I get the impression Boulez never waltzed in his life. For the Waltzes I recommend, if you can find it, Eduardo Mata and the Dallas Symphony on a budget RCA recording that also has a superb La Valse and Moussorgsky "Pictures." For the D minor concerto, my favorite is the effortless and flowing Fleisher/Comissiona with the Baltimore Symphony. For the concerto that employs all ten digits, I'll be not-terribly-original and opt for the famous Michelangeli/Gracis/Philharmonia recording that many critics consider one of the greatest piano recordings ever.
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