This is a very rewarding set. Massenet is still best known for his operas, and I doubt that sets such as this one will change that (it shouldn't), but he wrote a fascinating collection of instrumental works as well, and many of the pieces on this disc deserve the occasional revival. The piano concerto is relatively well-known (having been included in Hyperion's Romantic piano concerto series), and it is a delightful work. Massenet himself admitted that he wasn't entirely comfortable in large-scale symphonic forms (the concerto is his only one, or at least only mature work in symphonic form) and was at least intermittently dismissive of his concerto. But although Massenet complained about having to engage in note-spinning, there are preciously few traces of it in the work itself. It is full of ideas and manages to build up quite some drama, never really threatening to become anything but hugely engaging. The main criticism - a very minor one - would perhaps be that the solo part isn't ideally suited for a concerto in the sense that there are few brilliant, virtuoso passages.
But although Massenet may have been unable to write an idiomatic concerto solo part, he was certainly able to write well for the piano, as shown by the solo items here. Just as the concerto the pieces are full of tunes, atmosphere and stirring colors, and there are some beautifully wrought textures and colorations. Much of it is of course easy-going and easy on the ear, and most if not all of them are very modest, minor works, but they are never less than utterly attractive (the Papillons pieces would make wonderful encores in concert programs). Not all of them were originally intended for the piano either, and several are transcriptions of movements and passages from his operas or orchestral suites.
I also want to single out the Marches for four-hand piano; not great works by any means, but reminiscent of Schubert's contributions to the genre, and not really inferior (though of course less original) - they should by all standards be rather trite, but the effect they create is really compelling. In any case Aldo Ciccolini is a very sympathetic pianist throughout, and he is very ably accompanied by the Monte Carlo orchestra under Cambreling. If there is a drawback to this set, it must be the recorded sound, which makes the piano sound rather clangorous and dry at times (it may partially be the instrument, but I assume it is the engineering). Nevertheless, this is an extremely engaging release, recommended with some enthusiasm.