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Volledige opera's - Verschenen op 8 maart 2019 | LSO Live

Hi-Res Booklet
“This is Rattle” is the name of a ten-day festival organised in 2017 at the Barbican Centre in London to celebrate Sir Simon Rattle’s return to the country and his debut at the elm of the London Symphony Orchestra. One of the high points was the presentation of Berlioz’s La Damnation de Faust, performed twice, a piece Rattle knows in fact very well and also conducted in Berlin. Half opera, half cantata, the work wasn’t intended to be performed on stage. Very much like in the Symphonie fantastique, written fifteen years earlier, and his upcoming opera Benvenuto Cellini, La Damnation de Faust is largely autobiographical; Berlioz identifies with Faust’s metaphysical suffering, between disillusioned idealism, forbidden love and internal demons. The London Symphony Orchestra is very familiar with Berlioz, having performed his work many times since the 1970s under the lead of its former conductor, the late Sir Colin Davis. Standout performances include American tenor Bryan Hymel as Faust and British mezzo-soprano Karen Cargill, radiant in the role of Marguerite, once again displaying the excellent French diction of international singers. Replacing Gerald Finley at the last minute, Christopher Purves plays a particularly elegant Mephisto. Yet another contribution to the discography put together on the occasion of the 150th anniversary of the bubbling French composer’s passing. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 24 november 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Year - Gramophone Award - Gramophone Record of the Month - Victoire de la musique - 4 étoiles Classica
We will gladly forgive the occasional "weakness" in sound technology in this recording of Troyens by Berlioz (recorded live in concert in April 2017). In light of the first-rate quality of the music and vocals that appear on the disc (a majority of which are French voices, with Stéphane Degout at their head) this immense work is from the Strasbourg Philharmonic Orchestra and the three choirs which have been brought together – because the work demands immense swelling choirs – which are the choir of the Opéra national du Rhin, the Opéra National de Bade, and the Strasbourg Philharmonic's own choir. This recording rests, of course, on the complete original edition, which gives the listener a chance to hear Les Troyens as the work was performed in 1863, at the Théâtre-Lyrique, in which some intense chopping saw Acts I and II condensed into one part and Acts III to V into another, producing two distinct operas (La Prise de Troie and Les Troyens à Carthage). We also get a taste, naturally, of Berlioz's immensely rich orchestral innovations: with every new work, he would invent some exciting new prototype from scratch, never content to rest on his laurels. The listener should note the presence of six saxhorns, recently invented by Adolphe Sax (of whom Berlioz was an indefatigable champion, even if he didn't often use his instruments in his scores, no doubt because of the poor quality of the early instrumentalists who learned - however well or badly - Sax's instruments); bass clarinet, and an army of percussion pieces including several instruments which must have been rare in those days: crotales, goblet drums, tom-toms, thunder sheets... clearly, this is a milestone in the Berlioz discography. © SM/Qobuz
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Volledige opera's - Verschenen op 1 april 2011 | Challenge Classics

Onderscheidingen 4F de Télérama
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Volledige opera's - Verschenen op 1 januari 1960 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
A most relevant classic thanks to Markevitch’s fiery and electric direction and the sheer excellence of the Orchestre Lamoureux, which he directed at the time. The conductor of Russian descent is completely frantic, and perfectly conveys the visionary nature of this essential chapter of French romanticism. Listening to this version, one can fully grasp the modernity of Berlioz’s language, which lends itself to the most avant-garde staging, a paradox for a piece written for concerts rather than the stage. The sound recording, captured in the early days of triumphant stereophony, is simply extraordinary. © François Hudry/Qobuz

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