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Bastien et Bastienne · La Servante maîtresse
Gaétan Jarry
Classical - Released September 8, 2023 | Château de Versailles Spectacles
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Le Siège de Corinthe (Intégrale)
Lorenzo Regazzo
Opera - Released June 3, 2013 | Naxos
Booklet
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Choc de Classica
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"Amor fatale". Rossini Arias
Marina Rebeka
Opera Extracts - Released October 6, 2017 | BR-Klassik
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5 de Diapason -
4 étoiles Classica
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Le Bourgeois Gentilhomme
Vincent Dumestre
Classical - Released January 14, 2022 | Château de Versailles Spectacles
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Bizet: Carmen, WD 31
Adriana Maliponte
Classical - Released April 1, 1973 | Deutsche Grammophon (DG)
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Tchaikovsky: Eugène Onéguine (Diapason n°598)
Galina Vichnievskaia
Full Operas - Released September 25, 2010 | Les Indispensables de Diapason
Booklet
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Diapason d'or
Sibelius : Pelleas and Melisande Suite...
Turun Filharmoninen Orkesteri
Classical - Released July 31, 2015 | Naxos
Booklet
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The Naxos label has embarked on a series covering lesser-known works of Sibelius, performed by the little-known (outside Finland) but venerable Turku Philharmonic Orchestra under Sibelius veteran Leif Segerstam. They're well worth the time of Sibelius lovers, with clean, idiomatic performances that cover a side of the composer substantially lighter than that shown by his weighty symphonies. Many are associated with the theater, falling into genres like incidental music that really ought not to be forgotten inasmuch as they were the direct ancestors of today's soundtrack music. The music here is known to at least some listeners: Sibelius' incidental music for Maeterlinck's play Pelléas et Mélisande is performed often in a suite made by the composer, but recordings of the whole set of pieces are rare. The work makes an interesting counterpoint to Debussy's and Schoenberg's better-known sets of pieces, and if the listener can shake free of a linear view of music history, it stands up well to those. Sample the very sparse and powerful Mélisande's song (track 6), given a rich performance by soprano Pia Pajala; it's enough to make one wish Sibelius had been induced to apply his structural thinking to opera. The deep and unified final Andante from Act V could and should be performed more often as an independent work. After the Pélleas music is another piece of incidental music for an abortive project, a trio of waltzes (one vocal), and a little work from the end of Sibelius' career. There might be slightly cleaner versions of the Pélleas et Mélisande music out there, but probably not in a recording that gives the entire work. © TiVo
The Naxos label has embarked on a series covering lesser-known works of Sibelius, performed by the little-known (outside Finland) but venerable Turku Philharmonic Orchestra under Sibelius veteran Leif Segerstam. They're well worth the time of Sibelius lovers, with clean, idiomatic performances that cover a side of the composer substantially lighter than that shown by his weighty symphonies. Many are associated with the theater, falling into genres like incidental music that really ought not to be forgotten inasmuch as they were the direct ancestors of today's soundtrack music. The music here is known to at least some listeners: Sibelius' incidental music for Maeterlinck's play Pelléas et Mélisande is performed often in a suite made by the composer, but recordings of the whole set of pieces are rare. The work makes an interesting counterpoint to Debussy's and Schoenberg's better-known sets of pieces, and if the listener can shake free of a linear view of music history, it stands up well to those. Sample the very sparse and powerful Mélisande's song (track 6), given a rich performance by soprano Pia Pajala; it's enough to make one wish Sibelius had been induced to apply his structural thinking to opera. The deep and unified final Andante from Act V could and should be performed more often as an independent work. After the Pélleas music is another piece of incidental music for an abortive project, a trio of waltzes (one vocal), and a little work from the end of Sibelius' career. There might be slightly cleaner versions of the Pélleas et Mélisande music out there, but probably not in a recording that gives the entire work. © TiVo
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Written on Skin
Barbara Hannigan
Opera - Released February 1, 2013 | Nimbus Records
The album at hand is a live recording of the premiere of the opera Written on Skin, commissioned from composer George Benjamin by the Festival of Aix-en-Provence in France. That's appropriate in that the opera is based on a medieval troubadour tale that could have been heard in that area, but in its compactness and clipped restraint it is a quite British work. The story (a version of which appears in The Decameron of Boccaccio), however, is over the top, and whether it is enhanced by the music or not is a matter of taste. It's as grim as opera gets, featuring a shadowy medieval lord called the Protector; his wife, Agnès; and an artist-troubadour figure, called the Boy, who is commissioned by the Protector to tell the family's story in an illustrated manuscript. Jealousies develop, and, not to spoil too much, the heart of one of the characters is cooked and served up to another. The story was not a set of troubadour songs originally but a written-down short story that seems to have served as a source of background information for musical performance, and Benjamin and librettist Martin Crimp effectively catch this aspect by having the characters step outside themselves periodically. The Boy is realized as a countertenor role, sung by Bejun Mehta, and all the singers are top-notch. The action proceeds swiftly and intensely, unfolding mostly in a series of duets. It does not lack passion, but it does have the quality of a tapestry when the story it tells is drenched in blood. At any rate, it's well worth hearing, especially for those interested in how the legacy of medieval song might serve as a basis for contemporary works. Benjamin's Duet for piano and orchestra seems to have been included for no other reason than to fill out the second disc in the CD release; it really was not necessary. The live sound is impressively clear.© TiVo
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Saint-Saëns : Le Timbre d'argent
François-Xavier Roth
Classical - Released August 28, 2020 | Bru Zane
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Le Timbre d'Argent (The Silver Bell), begun in 1864, was Camille Saint-Saëns' very first opera. All but forgotten, it was last staged in 1914, before the 2017 Paris production on which this 2020 release is based. The forces here, including the specialist ensemble Les Siècles, the fine choir Accentus, and conductor François-Xavier Roth make a strong case for the opera's revival. Saint-Saëns obviously valued the work, revising it as late as 1913, due in part to the Franco-Prussian War; it is this last version that is heard presently. The work was termed a drame lyrique or opéra fantastique rather than an opéra comique, but it is an action-packed work that veers between romantic fun and fantasy elements that it shares, along with a pair of librettists, with Offenbach's Les contes d'Hoffman of 15 years later. (Goethe's Faust is another inspiration: the titular silver bell brings wealth but kills someone close to the user.) The fantasy elements are prominent in the substantial choral sections, giving the magical choir Accentus much to do. There is a great deal of sheer, sparkling Mozartian melody as well. Roth and a lively cast led by tenor Edgaras Montvidas as the obsessed, Faust-like artist keeps things moving along. Saint-Saëns is a conductor whose star seems to be on the rise, and admirers of his music are sure to want this. The surprise, however, is that anyone can enjoy it.© TiVo
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"Amoureuses" Mozart / Haydn / Gluck
Patricia Petibon
Classical - Released January 1, 2008 | Deutsche Grammophon (DG)
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Véronique Gens. "Tragédiennes"
Véronique Gens
Classical - Released May 1, 2006 | Warner Classics
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Les menus plaisirs de Louis XIV (Highlights)
William Christie
Classical - Released September 3, 2015 | harmonia mundi
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Strauss: Alpine Symphony, Die Frau ohne Schatten & Dance of the Seven Veils
London Philharmonic Orchestra
Classical - Released June 1, 2018 | London Philharmonic Orchestra
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Vladimir Jurowski's 2018 release on LPO brings together three live performances with the London Philharmonic Orchestra of popular works by Richard Strauss: the orchestral excerpts from Die Frau ohne Schatten were recorded in 2012, the Dance of the Seven Veils from Salomé in 2013, and the symphonic poem Eine Alpensinfonie in 2016. These vivid recordings put the listener smack in the center of things, re-creating the enormous sound of the London Philharmonic Orchestra in the Southbank Centre's Royal Festival Hall, and the extraordinary effects and rich scoring of Eine Alpensinfonie come across with incredible depth and range. This disc by itself may satisfy Strauss fans in need of a thrilling reading of one of his most dynamic and opulent scores, though the second disc of the provocative Dance of the Seven Veils and the dramatic instrumental pieces from Die Frau ohne Schatten may be of greater interest to newcomers as an introduction to Strauss' music for the stage. LPO's recording approaches audiophile quality, with clear and striking details that are fully audible, even in Strauss' densest textures. Highly recommended.
© TiVo
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Tchaikovsky: The Nutcracker
Antal Doráti
Classical - Released November 1, 1986 | Decca Music Group Ltd.
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The Qobuz Ideal Discography
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Pancrace Royer: Surprising Royer, Orchestral Suites
Les Talens Lyriques
Symphonic Music - Released May 5, 2023 | Aparté
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Beyond the neglect of French Baroque music in general, it is a bit hard to understand why composer Pancrace Royer was almost completely unknown until Christophe Rousset came along to champion him, first in harpsichord music and now, with these suites of music drawn from operas, in orchestral music. In the 18th century, Royer was quite well known and admired among others by Rameau, whose music he helped along considerably. Royer certainly inhabited Rameau's stylistic world, but from the evidence here, his music is distinctive and merits the adjective "surprising" that Rousset has attached to it. It is colorful, given to unexpected turns of harmony, and vivid in its evocation of the exotic scenes of French opera. Sample the "Air pour les turcs" ("Air for the Turks") from Zaïde, reine de Grenade, with its crackling percussion. Royer challenged his orchestra with virtuoso ensemble writing in the likes of the "Premier et second tambourins" from Almasis, and Rousset and Les Talens Lyriques step up with precise, vigorous readings that one imagines would have made the composer overjoyed. The inclusion of two alternate versions for movements from Zaïde is also unusual and gives insight into the compositional thinking of the day. Essential for specialists and enthusiasts interested in the French Baroque, this album is a lot of fun for anyone, with only overdone church sound detracting from the overall effect.
© James Manheim /TiVo
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Spontini: La vestale
Les Talens Lyriques
Classical - Released May 12, 2023 | Bru Zane
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Gaspare's Spontini's French-language La Vestale is probably the most often heard of his operas, but that is not saying much; the work was sung by Maria Callas in the 1950s, but performances are sparse. Here, it is revived in period style by Les Talens Lyriques and conductor Christophe Rousset, and a very good case is made for further attention. The story is action-packed; Julia, in the absence of her lover, General Licinius, becomes una Vestale, a Vestal Virgin and guards a sacred flame. When Licinius returns to town, the flame goes out, and Julia is sentenced to be buried alive. Licinius rallies his troops, vowing to kidnap Julia, and the flame is reignited later by a lightning strike. Spontini's orchestration of this tale is Beethovenian in its dimensions, and despite the difficulties of natural horns, it is exciting to hear this opera as Napoleon (thought to be the model for Licinius) and Josephine (who backed the opera) heard it. The singers are not Callas-level, but throughout, and especially in the choruses, there is a commitment to the text and its meaning that is rare in any kind of recording. Marina Rebeka, in the role of Julia, is fully involved in the character's plight, and the smoky-voiced Aude Extrémo as La Grande Vestale is worth the price of admission on her own. The singers are aided by clear, spacious studio sound engineering from the early opera specialist label Palazzetto Bru Zane, whose high standards are perhaps even exceeded here.
© James Manheim /TiVo
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Atys
Christophe Rousset
Opera - Released January 5, 2024 | Château de Versailles Spectacles
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Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo
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Rodgers & Hammerstein's Oklahoma! (Complete original score)
John Wilson
Theatre Music - Released September 15, 2023 | Chandos
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While the recordings of highlights and hits from Rodgers & Hammerstein's still-popular Oklahoma! have been issued over the years, the complete, as originally orchestrated score (by Richard Rodney Bennett) had yet to be recorded. However, following a live-staged performance at the 2017 BBC Proms, conductor John Wilson took it upon himself to deliver this premiere. He sticks with the original orchestra dimensions as well, which is a good thing since the handpicked members of his Sinfonia of London are powerful enough in this smaller group. Wilson also took advantage of the quality theaters around London, bringing in soloists and a cast ensemble of veterans from stages across England. He does well in selecting a cast here; while all are more than capable singers, they are also able to deliver the vocal acting that is necessary to pull this off. Leading the cast are Nathaniel Hackmann, reprising his role as Curly from the Proms performance, and Sierra Boggess as Laurey. The vocalists and orchestra take full advantage of the space and recording setup, which allows the orchestra to play full out while not overstraining the singers. The beauty of Rodgers' music paired with Hammerstein's book is evident, even if you are unfamiliar with anything but the titular state (if even that!); the imagery of ranches and open cattle land easily comes to mind. This recording should be welcomed with open arms by those who are familiar with the musical, be it either from a stage (generally edited and with cuts) or in its film version with its edits. Oh, what a beautiful mornin', indeed.© Keith Finke /TiVo
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L'Heure bleue (Boulanger, Debussy, Finzi, Poulenc, Ravel, Waksman)
Quatuor Zahir
Classical - Released March 29, 2024 | Aparté
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Qobuzissime
Without any hesitation, we had to award a Qobuzissime to L'Heure bleue, the second album by Quatuor Zahir. Because in the classical world, the saxophone quartet is still too rare a format on both record and on stage. Because the impressionist works of Debussy, Ravel, Poulenc, and Boulanger dazzle us, as do the creations of Fabien Waksman and Graciane Finzi. Because of the refinement and sophistication of these arrangements. Because of the impeccable sound recording—always a highlight of the Aparté label. Because of the beauty of the title, "L'Heure Bleue," which sums up the driving idea behind this powerful record. “This ephemeral moment at the crossroads of day and night—such could be the dream setting for this new opus. An invitation to a dreamlike journey," explain the members of the quartet—Guillaume Berceau, Etienne Boussard, Florent Louman, and Joakim Cielsa. Five years after their debut, the quartet took the time to construct this recital piece by piece, with the patience of goldsmiths or those who have a taste for beauty and precision of gesture. Like a landscape with changing colors and moods—from the lively (Debussy's "Quant j'ai ouy le tabourin") and languorous (Ravel's "Pavane pour une infante défunte"), to the playfulness of the last of Boulanger's Trois Pièces—in L'Heure bleue we find the gentle reminiscence of a forgotten or fantasized era. Whether the works interpreted here are in their original form or arranged, it becomes almost impossible to distinguish between the two categories, as each track is so immediately appealing. The Zahirs interweave their sublime timbres with consummate artistry, with all the interpretations becoming essentials. © Pierre Lamy/Qobuz
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