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Esa-Pekka Salonen - Stravinsky : Perséphone (Live)

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Stravinsky : Perséphone (Live)

Finnish National Opera Orchestra/Chorus, Esa-Pekka Salonen

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Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States.
Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music.
Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for.
Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz

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Stravinsky : Perséphone (Live)

Esa-Pekka Salonen

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Perséphone, Pt. 1 (Igor Stravinsky)

1
Part I: Déesse aux mille noms, puissante Déméter (Eumolphe)
00:02:07

Andrew Staples, Tenor (Eumolphe) - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

2
Part I: Reste avec nous, princesse Perséphone (Chorus, Perséphone, Eumolphe)
00:05:45

Pauline Cheviller, Narrator (Perséphone) - Andrew Staples, Tenor (Eumolphe) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

3
Part I: Perséphone, un peuple t'attend (Eumolphe, Perséphone)
00:02:33

Andrew Staples, Tenor (Eumolphe) - Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

Perséphone, Pt. 2 (Igor Stravinsky)

4
Part II: Ô peuple douloureux des ombres, tu m'attires (Perséphone, Eumolphe)
00:04:11

Pauline Cheviller, Narrator (Perséphone) - Andrew Staples, Tenor (Eumolphe) - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

5
Part II: Sur ce lit elle repose (Chorus)
00:03:48

Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

6
Part II: Ma mère Déméter, que la vie était belle (Perséphone, Chorus)
00:01:29

Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

7
Part II: Tu viens pour dominer (Eumolphe, Perséphone, Chorus)
00:09:03

Andrew Staples, Tenor (Eumolphe) - Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

8
Part II: Le printemps, c'est toi! (Chorus, Perséphone)
00:01:48

Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

9
Part II: Pauvres ombres désespérées (Eumolphe, Perséphone, Chorus)
00:04:25

Andrew Staples, Tenor (Eumolphe) - Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

Perséphone, Pt. 3 (Igor Stravinsky)

10
Part III: C'est ainsi, nous raconte Homère (Eumolphe)
00:03:29

Andrew Staples, Tenor (Eumolphe) - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

11
Part III: Venez à nous, enfants des hommes (Chorus, Children)
00:06:10

Finnish National Opera Children's Chorus - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

12
Part III: Parle, Perséphone, raconte (Chorus, Perséphone)
00:03:11

Pauline Cheviller, Narrator (Perséphone) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

13
Part III: Ainsi vers l'ombre souterraine (Eumolphe, Chorus)
00:02:04

Andrew Staples, Tenor (Eumolphe) - Finnish National Opera Chorus - Finnish National Opera Orchestra - Esa-Pekka Salonen, Conductor - Igor Stravinsky, Composer - André Gide, Writer

(C) 2018 PENTATONE (P) 2018 PENTATONE

Album Description

Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States.
Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music.
Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for.
Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz

Details of original recording : Recorded live at the Finnish National Opera and Ballet, Helsinki by the Finnish Broadcasting Company Yle on 11 August 2017 at a concert produced by the Helsinki Festival

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