Daphnis

Dudamel’s performance of Stravinsky’s “The Firebird,” Salonen’s of Strauss’ “An Alpine Symphony” and Ravel’s “Daphnis and Chloé,” along with Zubin Mehta’s of Mahler’s First Symphony, sounded unlike they might be played by any other orchestra in any other space — namely site specific, an occasion.

Salonen brought a spiritual and erotic rapture to the full score of Ravel’s ballet, “Daphnis and Chloé.”

Their Ravel, Dutilleux and Korngold recordings have won awards, and their next major recording project is a complete version of Ravel’s “Daphnis and Chloe,” featuring new parts that took Wilson 18 months to compile.

“When I was living in New York in the ’50s,” Michael Steinberg of The Globe wrote in 1964, “I used to imagine Symphony Hall as the scene of a more or less perpetual performance of the Berlioz ‘Symphonie Fantastique,’ relieved now and again by ‘Daphnis and Chloe’ and ‘La Mer.’

The audience even got a second helping: The big, sweet slice of cake that is the Suite No. 2 drawn from Albert Roussel’s 1930 ballet “Bacchus et Ariane” was followed by another slice, the Suite No. 2 from another mythological ballet of the early 20th century, Ravel’s “Daphnis et Chloé.”