Muzyka Klasyczna

Berlioz - La Damnation De Faust (Chung)

2011-10-06T18:22:39Z

Berlioz - La Damnation De Faust (Chung)

CD1
1. Part 1 - Scène 1. "Le vieil hiver a fait place au printemps"	Keith Lewis	5:57	
2. Part 1 - Ronde des Paysans. "Les bergers quittent leurs troupeaux"	Keith Lewis	3:21	
3. Part 1 - Scène 2. "Mais d'un éclat guerrier"	Keith Lewis	0:48
4. Part 1 - Marche hongroise	Philharmonia Orchestra	4:38	
5. Part 2 - Scène 3. "Sans regrets j'ai quitté les riantes campagnes"	Keith Lewis	5:29
6. Part 2 - Chant de la fête de Pâques. "Christ vient de ressusciter!"	Keith Lewis	5:53
7. Part 2 - "Hélas! doux chant du ciel"	Keith Lewis	1:12
8. Part 2 - Scène 4. "O pure émotion!"	Bryn Terfel	2:09
9. Part 2 - Scène 5. Choeur de buveurs. "A boire encor!"	Bryn Terfel	2:33
10. Part 2 - Chanson de Brander. "Certain rat, dans une cuisine"  Victor von Halem  2:08
11. Part 2 - Fugue sur le thème de la chanson. "Amen"	Victor von Halem	1:20
12. Part 2 - "Vrai Dieu, messieurs"	Bryn Terfel	1:07	
13. Part 2 - Chanson de Méphistophélès. "Une puce gentille"	Bryn Terfel	1:20
14. Part 2 - "Assez! fuyons ces lieux"	Keith Lewis	2:08
15. Part 2 - Scène 6. Air de Méphistophélès. "Voici des roses"	Bryn Terfel	2:32
16. Part 2 - Songe de Faust. "Dors! heureux Faust"	Bryn Terfel	6:12
17. Part 2 - Ballet des Sylphes	Philharmonia Orchestra	2:20
18. Part 2 - Scène 7. "Margarita!"	Keith Lewis	1:08
19. Part 2 - Choeur de soldats: "Villes entourées de murs et de remparts" Philharmonia Orchestra	1:20
20. Part 2 - Chanson d'étudiants:"Jam nox stellata velamina pandit"	Philharmonia Orchestra	0:59
21. Part 2 - Villes entourées / Jam nox stellata	Keith Lewis	2:07

CD2
1. Part 3 - Tambours et trompettes sonnant la retraite	Philharmonia Orchestra	 0:56
2. Part 3 - Scène 8. Air de Faust. "Merci, doux crépuscule!"	Keith Lewis	4:58
3. Part 3 - Scène 9. "Je l'entends"	Bryn Terfel	1:00
4. Part 3 - Scène 10. "Que l'air est étouffant"	Anne Sofie von Otter	2:57
5. Part 3 - Le roi de Thulé (Chanson gothique). "Autrefois un roi de Thulé" Anne Sofie von Otter	5:23
6. Part 3 - Scène 11. Evocation. "Esprits des flammes inconstantes"	Bryn Terfel	1:45
7. Part 3 - Menuet des Follets	Bryn Terfel	5:32
8. Part 3 - Sérénade de Méphistophélès. "Devant la maison"	Bryn Terfel	1:58
9. Part 3 - Scène 13. "Grands dieux!"	Anne Sofie von Otter	0:50
10. Part 3 - Trio et choeur. (Duo:) "Ange adoré"	Keith Lewis	4:30	
11. Part 3 - Scène 14. "Allons, il est trop tard!"	Bryn Terfel	2:41
12. Part 3 - "Je connais donc enfin"	Keith Lewis	1:52	
13. Part 4 - Scène 15. Romance. "D'amour l'ardente flamme"	Anne Sofie von Otter	8:15
14. Part 4 - "Au son des trompettes"	Anne Sofie von Otter	2:09
15. Part 4 - Scène 16. Invocation à la Nature. "Nature immense"	Keith Lewis	5:42
16. Part 4 - Scène 17. Récitatif et Chasse. "A la voûte azurée"	Bryn Terfel	3:23
17. Part 4 - Scène 18. La course à l'abîme. "Dans mon choeur retentit sa voix"	Keith Lewis	3:19
18. Part 4 - Scène 19. Pandaemonium. "Has! Irimiru Karabrao!"	Bryn Terfel	1:46
19. Part 4 - "Tradioun marexil firtrudinxé burrudixé"	Philharmonia Orchestra	1:59
20. Part 4 - Scène 20. Epilogue sur la terre. "Alors, l'enfer se tut"	Philharmonia Orchestra	1:17
21. Part 4 - Scène 21. Le Ciel. "Laus! Laus!"	David Nicklass	1:08
22. Part 4 - Apothéose de Marguerite. "Remonte au ciel, âme naïve"	Philharmonia Orchestra	1:00
23. Part 4 - Viens! les vierges divines	Philharmonia Orchestra 	2:31

Anne Sofie von Otter (Margarita)
Victor von Halem (Brander)
Keith Lewis (Faust)
Bryn Terfel (Mefistofeles)
David Nicklass (Le Ciel)

Philharmonia Orchestra and Chorus
Myung-Whun Chung – conductor

This is one of my favorite CD's. The work itself is electrifying, passionate Berlioz. Lust, drama, Heaven, and Hell. In Le Damnation of Faust, you have it all! Lewis is is an excellent Faust. His voice brings out the best in Berlioz's vocal writing. von Otter is a sympathetic Marguerite. The King of Thul ballad shows off her breath-taking voice and a drammatic yet innocent presence which I had never heard in her voice before this recording. I am normally not a big fan of Terfel, but in this recording he makes the perfect, seductive, evil, and even sometimes loveable Mephistopheles. The shining star of this recording, however, is von Halem as the Brander. His rather gruff tone allows the listener to picture a grotesque, hairy, and loud drunk. von Halem is the most believable Brander I have heard. The background "bar" chorus and Mephistopheles' "Flea Song" make the Ratskeller scene wild and vulgar--just as it should be! The chorus and orchestra also do a fantastic job of creating a frightening scene as demons in Hell, as Mephistopheles triumphs at conquering Faust's soul. The work ends in a well-conducted contrast when Marguerite is called into heaven. The orchestra and Chung are top-notch in this recording. Chung brings out the contrasts and various dimmensions in the score. Great conductor, great soloists, great orchestra and chorus...what more could you ask for? --- dolcissima2780 "dolcissima" (Pennsylvania, USA)

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Berlioz - Requiem (Bernstein)

2012-05-24T16:47:12Z

Berlioz - Requiem (Bernstein)


1. Requiem et Kyrie 	
2. Dies Irae; Moderato 	
3. Dies Irae; Andante maestoso. (Tuba mirum) 	
4. Sum Miser 
5. Rex tremendae 	
6. Quaerens me 	
7. Lacrymosa 	
8. Offertorium 	
9. Hostias 			play
10. Sanctus
11. Agnus Dei
12. Te Deum I - Te Deum - II - Tibi omnes
13. Te Deum III - Dignare, Domine
14. Te Deum IV - Christe, Rex Gloriae
15. Te Deum V - Te ergo quaesumus
16. Te Deum VI - Judes crederis

Orchestre National de France
Leonard Bernstein - conductor

Berlioz' Requiem needs a performance of spontaneous brilliance and almost manic intensity to come off. The reason is simple. The big movements--the Dies Irae sequence and Lachrymosa--use a huge chorus and a full orchestra including four brass bands (stationed in the four corners of the concert hall), eight sets of timpani (10 players), and additional percussion. After that, everything else sounds anti-climatic, unless the conductor somehow manages to keep the tension flowing through the quiet (and, let's not kid ourselves, dull) bits. Leonard Bernstein certainly manages the impossible, though God only knows how he does it. The recording helps--it really captures a sense of large forces in a big space, while projecting the aura of mystery that the intimate moments need if they're going to work. ---David Hurwitz

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Berlioz - Roméo et Juliette (Colin Davis) [1993]

2012-08-18T16:55:37Z

Berlioz - Roméo et Juliette (Colin Davis) [1993]

CD1
1 Introduction
2 Prologue: "D'Anciennes Haines Endormies"
3 Strophe 1: "Premiers Transports Que Nul N'Oublie"
4 Heureux Enfants Aux Coers De Flamme
5 Récitatif Et Scherzetto: "Bientôt De Roméo"
6 Roméo Seul
7 Grande Fete Chez Les Capulets
8 Ohé! Capulets! Bonsoir, Bonsoir!
9 Scene D'Amour
10 La Reine Mab, Ou La Fée Des Songes
11 Jetez Des Fleurs
12 Romeo Au Tombeau Des Capulets

CD2
1 Finale. Quoi! Roméo De Retour!
2 Finale.Pauvres Enfants Que Je Pleure
3 Finale.Jurez Donc Par L'Auguste Symbole

4 Ouverture „Beatrice et Benedict”
5 Overture "Le Roi Lear"
6 Overture "Les Francs-Juges", Op.3
7 Overture "Waverley", Op.1
8 Overture "Le Corsaire", Op.21

Olga Borodina - mezzo-soprano 
Thomas Moser - tenor 
Alastair Miles - bass 
Chor des Bayerischen Rundfunks 
Wiener Philarmoniker 

London Symphony Orchestra 
Sir Colin Davis – conductor

An interesting aspect of Colin Davis’ 1993 Musikverein Romeo et Juliette is how he cajoles the Vienna Philharmonic (of all the world’s great orchestras, surely that most set in its ways) into assuming a French-sounding identity. You notice it time and again, in more sharply differentiated woodwind textures (darker, woodier clarinets, airy “will-’o-the wisp” flutes, gruff bassoons) and idiomatic brass-playing (the trumpets have a full-throated plumpness and cornet-like vibrato), none of it what you’d usually expect to hear.

Davis has capable vocal soloists, too, but the performance overall seems less hard-hitting than his LSO account of 1968, which remains preferable in many ways. The big scenes, notably the “Capulet’s Ball”, the “Love Scene”, and “Juliette’s Cortège”, had more pictorial immediacy before, though the Vienna Philharmonic obviously enjoys the virtuoso opportunities of the “Queen Mab” scherzo.

On the other hand, the overtures completing Disc 2 are wholly electrifying. With the LSO on peak form, Le Corsaire sounds incredibly exciting, while King Lear has gripping forcefulness and majesty. And there’s no better Waverley on disc either, with Davis securing faultless orchestral ensemble, even from the cellos and basses in their notoriously difficult linking passages mid-way through. There’s also a resplendent Les Francs Juges, stunningly played, and new transfers of the already superb Philips masters impart even more sheen and brilliance. --- classicstoday.com , [9/25/2002]

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Berlioz - Symphonie Fantastique (Abbado) [2003]

2009-10-21T18:43:27Z

Berlioz - Symphonie Fantastique (Abbado) [2003]


1. Rêveries. Passions (Largo - Allegro agitato ed appassionato assai) 15:19
2. Un bal (Valse: Allegro non troppo) 6:00
3. Scène aux champs (Adagio) 16:35
4. Marche au supplice (Allegretto non troppo) 6:25
5. Songe d'une nuit du Sabbat - Larghetto – Allegro 3:11
6. Songe d'une nuit du Sabbat - Dies irae 1:50
7. Songe d'une nuit du Sabbat - Ronde du Sabbat 2:47
8. Songe d'...- Dies irae et Ronde du Sabbat ensemble 1:48

Chicago Symphony Orchestra
Claudio Abbado – conductor

Symphonie fantastique: Épisode de la vie d'un Artiste...en cinq parties (Fantastic Symphony: An Episode in the Life of an Artist, in Five Parts), Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important representative piece of the early Romantic period, and is still very popular with concert audiences worldwide. The work was repeatedly revised between 1831 and 1845 and subsequently became a favourite in Paris.

Berlioz fell in love with an Irish actress, Harriet Smithson, after attending a performance of Shakespeare's Hamlet with her in the role of Ophelia, on 11 September 1827. He sent her numerous love letters, all of which went unanswered. When she left Paris they had still not met. He then wrote the symphony as a way to express his unrequited love. It premiered in Paris on 5 December 1830; Harriet was not present. She eventually heard the work in 1832 and realized that she was the genesis. The two finally met and were married on 3 October 1833. Their marriage was increasingly bitter, and they separated after several years of unhappiness.

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Berlioz - Symphonie Fantastique. Berlioz Takes A Trip (1999)

2019-09-22T15:45:16Z

Berlioz - Symphonie Fantastique. Berlioz Takes A Trip (1999)

Symphonie Fantastique, Op. 14 (Épisode De La Vie D'Un Artiste)
1 	I Rêveries. Passions. Largo - Allegro Agitato E Appassionato Assai (Träume. Leidenschaften) 	13:18
2 	II Un Bal. Valse. Allegro Non Troppo 	6:15
3 	III Scène Aux Champs. Adagio (Scene In The Country · Szene Auf Dem Lande) 	17:14
4 	IV Marche Au Supplice. Allegretto Non Troppo (March To The Scaffold · Gang Zum Richtplatz) 	4:49
5 	IV Songe D'Une Nuit Du Sabbat. Larghetto - Allegro (Dream Of A Sabbath Night · Traum Einer Sabbatnacht) 	9:47

"Berlioz Takes A Trip"
6 	Leonard Bernstein Explores The 'Symphonie Fantastique' With Musical Illustrations By The New York Philharmonic 	15:41

New York Philharmonic
Leonard Bernstein - conductor

Recorded at Manhattan Center, New York City, USA , tracks 1 to 5: 05-27-1963.
Recorded at Philarmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City, USA, track 6: 03-05-1968.

This 1963 Symphonie fantastique is actually the same as Bernstein’s Royal Edition performance (though in significantly finer sound), which claims to be his marginally tamer 1968 remake. In fact, this is the most drugged-out performance of the work that you will ever hear, and it’s accompanied by a delightful spoken essay (essentially word for word the same as appears in the “Young People’s Concerts”) that explores the highlights of the composer’s opium-induced vision. It’s easy to see why Bernstein, in a more reflective moment, might have found some of this performance’s rougher edges a bit alarming (Just listen to those tubas in the finale. Incredible!). On the other hand, in these days of authentic instruments, a little edge to the sound isn’t considered such a bad thing, and all of the squeaks, grunts, and thuds that Bernstein elicits from his players have ample justification in Berlioz’s revolutionary score. This truly is a great performance, one that goes straight to the top of the list alongside Charles Munch’s classic Boston version (RCA). ---David Hurwitz, classicstoday.com

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Berlioz – La Damnation de Faust - Ozawa (1974)

2012-08-23T16:58:50Z

Berlioz – La Damnation de Faust - Ozawa (1974)

CD1
1 Part 1. Scene 1. Introduction. Le vieil hiver a fait place au printemps  5:35
2 Part 1. Scene 2. Ronde des Paysans. Les bergers quittent leurs troupeaux 4:11
3 Part 1. Scene 3. Mais d'un éclat guerrier les campagnes se parent. Marche Hongroise 	4:31 	
4 Part 2. Scene 4. Sans regrets j'ai quitté les riantes campagnes 4:03
5 Part 2. Scene 4. Chant de la Fête de Pâques. Christ vient de ressusciter! 6:29
6 Part 2. Scene 5. Ô pure émotion! Enfant du saint parvis! 2:14
7 Scene 6. Choeur des Buveurs  2:46
8 Scene 6. Chanson de Brander	2:13
9 Scene 6. Fugue sur le Theme de la Chanson de Brander 2:59
10 Scene 6. Chanson de Méphistopheles 3:40
11 Scene 7. Air de Méphistopheles 2:38
12 Scene 7. Choeur des Gnomes et De Sylphes 6:06
13 Ballet de Sylphes 3:22
14 Scene 8. Finale. Choeur de Soldats. Chanson d'Etudiants  4:36

CD2
1 Third Part. Tambours et trompettes sonnant la retraite 1:11
2 Scene 9. Air de Faust. Scene 10 5:30
3 Scene 11. Que l'air est étouffant! 2:57
4 Scene 11. Le Roi de Thulé 4:28
5 Scene 12. Evocation	1:50
6 Scene 12. Menuet des Feux Follets 6:06
7 Scene 12. Sérénade de Méphistopheles 2:25
8 Part 3. Scene 13. Duo. Grand Dieu! 5:04
9 Part 3. Scene 14. Trio et Chœur. Allons, il est trop tard! 5:05
10 Part 4. Scene 15. Romance. D'amour l'ardente flame 8:38
11 Part 4. Scene 15. Au son des trompettes 2:14
12 Part 4. Scene 16. Invocation à la Nature. Nature immense, impénétrable et fière 4:03
13 Part 4. Scene 17. Récitatif et Chasse. A la voûte azure 3:33
14 Part 4. Scene 18. La Course à l'Abîme. Dans mon cœur retentit sa voix 3:31
15 Part 4. Scene 19. Pandaemonioum. Has! Irimirukarabrao! Has! / Epilogue sur la Terre.
 Alors, l'Enfer 5:01
16 Part 4. Scene 20. Dans le Ciel. Laus! Hosanna! / Apothéose de Marguerite.
 Remonte au ciel, âme naïv 4:52

Faust - Stuart Burrows
Méphistophélès - Donald McIntyre
Marguerite - Edith Mathis
Brander - Thomas Paul

Tanglewood Festival Choir
Boston Boys' Choir
Boston Symphony Orchestra
Seiji Ozawa – conductor

Recorded: Boston, Symphony Hall, 10/1973

October, 1973: Ozawa was 38, freshly minted in his first season with the BSO, when this Damnation of Faust was recorded. No doubt it was a prestigious release, because after decades with RCA, the orchestra had decided to make a fresh start with DG, where they would be the label's flagship American orchestra. Looking back, this was something like a high point in optimism for the pairing of the BSO and Ozawa. He would all too quickly become a more uninteresting, at times uninspired, conductor. His great failing was lack of impact, which he tried to compensate for with rather pointless refinement, even in Mahler and Berlioz, where it's the last think a conductor should be thinking about.

Happily, none of that matters in this recording,which is full of vitality and confidence. The Tanglewood Festival chorus has a full, rich, musical sound -- at long last a professional chorus that was worthy of a great orchestra. As the lead reviewer points out, Stuart Burrows sings resplendently, without the slightest fear of the high-flying range of his solos. He's not particularly French, but Faust has long been an international work. Too bad that Donald McIntyre's Mephisto so thoroughly lacks charisma, either for evil or wittiness. He bludgeons the role dramatically, with the affliction of bad French, but there's no denying that he's in excellent (and very loud) voice. Edith Mathis is musical and touching, but it wasn't the best idea to ask a soprano to fill out a role best sung by a mezzo with a high extension like Janet Baker or von Otter.

Symphony Hall, as great as it is for concerts, tends to be over reverberant for recordings, as it is here. There's a big back-to-front difference between the vocal soloists and the chorus, too. The student chorus seems to bawl their mock amen in Carlsbad Cavern. There is also a tendency on Ozawa's part to turn heavy handed when he should be nimble and alert. DG had already made acclaimed recordings during William Steinberg's brief interregnum after the departure of Erich Leinsdorf, so this one should also have been superior. It has plenty of visceral impact, however, and may play better on systems other than mine. --- Santa Fe Listener, amazon.com

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Hector Berlioz - Béatrice et Bénedict (1981)

2011-11-02T09:55:49Z

Hector Berlioz - Béatrice et Bénedict (1981)

CD1
1. Ouvertüre
2. Il y eu la guerre
3. Chor1: Le More est en fuite. Victoire! ( Le peuple sicilien )
4. Pour Signor Léonato, gouverneur de la ville de Messine
5. Chor2: Le More est en fuite. Victoire! ( Le peuple sicilien )
6. Le More est en fuite - Danse nationale: Siclienne
7. Je vais le voir - Il me revient fid#le
8. Avec l'impétousité qui convient
9. Comment le dédain pourrait-il mourir? - Bénédict, ne partez pas!
10. Un jeu partout, et Béatrice quitte la scéne
11. Me marier? Dieu me pardonne! - Par le ciel!
12. Don Pedro n'a rien perdu de la scéne
13. Mourez, tendres époux
14. Les chanteurs chantent, les cuisiniers cuisinent
15. Ah, je vais l'aimer														CD1
16. Pendant que les messieurs poussent l'intrigue aux dépens de Bénédict
17. Vous soupirez, madame? - Nuit paisible et sereine!

CD2
1. Pour la menu peuple de Messine
2. Entr'acte: Sicilienne
3. Pour quelques-uns, la victoire
4. Le vin de Syracuse
5. Ce n'est pas assez d'un couplet
6. Le vin... le vin... le vin de Syracuse
7. Tel Baccus et sa troupe vacillante
8. Dieu! Que viens - je d'entendre?
9. Qu'as-tu donc, Béatrice?
10. Je vais d'un coeur aimant
11. Perdues dans leur songe, elles ont oublié l'heure qui passe
12. Viens! Viens, de l'hyménée												CD1
13. Béatrice ne sait plus depuis combien de temps elle rêve
14. Dieu qui guidas nos bras
15. Par stratagéme, Béatrice et Bénédict ont découvert leur amour
16. Ici l'on voit Bénédict
17. Et ce n'est pas Bénédict qui dira le contraire
18. L'amour est un flambeau

Béatrice - Yvone Minton
Bénedict - Plácido Domingo
Héro - Ileana Cotrubas
Ursule - Nadine Denize
Don Pedro - John Macurdy
Claudio - Roger Soyer
Somarone - Dietrich Fischer-Dieskau

Choeur de L'Orchestre de Paris
Orchestre de Paris
Daniel Barenboim - conductor, 1981

Béatrice et Bénédict (Beatrice and Benedick) is an opera in two acts by Hector Berlioz. The French libretto was written by Berlioz himself, based closely on Shakespeare's Much Ado About Nothing. It was first performed at the Theater der Stadt, Baden-Baden on 9 August 1862.

Berlioz completed the score between the completion and production of his magnum opus, the monumental opera Les Troyens. Shortly after its successful premiere in Baden, Berlioz conducted the first two performances of a German version in Weimar, where he was "overwhelmed by all sorts of kind attention," as he recorded in his memoirs.

Béatrice et Bénédict was first seen in France at the Opéra-Comique in 1890; it was again seen at that theatre in 2010. Although rather infrequently performed and not part of the standard operatic repertoire, other recent productions have included Amsterdam and Welsh National Opera tour in 2001, Santa Fe Opera in 2004, Strasbourg in 2005, Lyric Opera of Chicago in 2007 and Houston Grand Opera in 2008.

Synopsis

    Time: The 16th century.
    Place: Messina, Sicily.

Act 1

Don Pedro, prince of Aragon, is visiting Messina after a successful military victory over the Moors, which is celebrated by all of Sicily. He is joined by two friends and fellow soldiers, Claudio and Bénédict. They are greeted by Léonato, governor of Messina, together with his daughter, Héro, and niece, Béatrice.

Héro awaits the return of her fiancé, Claudio. Béatrice inquires about and scorns Bénédict. They trade insults and tease each other. Bénédict swears to his friends that he will never marry. Later, Claudio and Pedro scheme to trick Bénédict into marrying Béatrice. Knowing that he is listening, Léonato assures Pedro that Béatrice loves Bénédict. Upon hearing this, Bénédict resolves that Béatrice's love must not go unrequited, and so he decides to pursue her. Meanwhile, elsewhere, Héro and her attendant, Ursula, manage to play a similar trick on Béatrice who now believes that Bénédict is secretly in love with her.

Act 2

To celebrate the pending wedding of Claudio and Héro, Léonato hosts a masquerade party. A local music teacher, Somarone, leads the group in song and everybody enjoys themselves except Béatrice who realizes that she has fallen in love with Bénédict. As she turns to leave she is met by Bénédict, prompting an exchange in which they both attempt to conceal their love for each other. A notary solemnizes the marriage and, as arranged by Léonato, asks a second couple to come forward. Bénédict summons the courage to declare his love to Béatrice and the two sign the wedding contract along with Héro and Claudio.

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Hector Berlioz - Benvenuto Cellini

2011-06-28T08:49:02Z

Hector Berlioz - Benvenuto Cellini (1964)

Disc: 1
CD1
1. Part 1a
2. Part 1b

CD2
3. Part 2a
4. Part 2b

Benvenuto Cellini - Richard Lewis
Balducci - Don Garrard
Fieramosca - John Cameron
Le Pape Clément VII - David Ward
Pompeo - Ranken Bushby
Teresa - Joan Carlyle
Cabaretier - John Kentish
Ascanio - Josephine Veasey

BBC Symphony Orchestra
Antal Dorati – conductor

Recording of a concert performance in the Royal Festival Hall, London (23 January 1963, not 1964 as stated on the CD label.

Benvenuto Cellini is an opera in two acts with music by Hector Berlioz and libretto by Léon de Wailly and Henri Auguste Barbier. It was the first of Berlioz's operas. The story is loosely based on the memoirs of the Florentine sculptor Benvenuto Cellini. The opera is technically very challenging and rarely performed, and is not part of the standard operatic repertoire. However, the overture to the opera features in symphony orchestra programs, as well as the concert overture Le carnaval romain that Berlioz composed from material in the opera.

In 1834, Berlioz, de Wailly and Barbier devised a libretto in the opéra comique style, with spoken dialogue. However, the Paris Opéra-Comique company rejected it. The story was then reworked into more "conventional" opera format, without spoken dialogue. With actual composition starting in 1836, the opera was first performed at the Paris Opera on September 10, 1838, conducted by François Antoine Habeneck, and with Gilbert Duprez in the title-role. At its premiere, the audience, disturbed by the radical new opera, rioted, and the musicians branded the work as impossible to play.

Louis Hector Berlioz (ur. 11 grudnia 1803 w La Côte-Saint-André koło Grenoble, zm. 8 marca 1869 w Paryżu) – francuski kompozytor, twórca symfonii romantycznej, prekursor nowoczesnej kolorystyki, którego twórczość nadała kierunek rozwoju XIX-wiecznej symfonice; pisarz i krytyk muzyczny.

Benvenuto Cellini – opera w trzech aktach. Muzykę skomponował Hector Berlioz, a libretto napisali: Léon de Wailly i August Barbier (częściowo oparte na autobiografii Benvenuto Celliniego). Prapremiera miała miejsce dnia 10 września 1838 roku w Grand Opéra w Paryżu.

Źródłem inspiracji dla kompozytora była autobiografia Celliniego oraz wspomnienia z jego pobytu w Rzymie. Dzieło to było tak wówczas nowatorskie, że wystawienie opery w 1838 r. w Paryżu spotkało się z negatywnym przyjęciem kompozycji przez środowisko i zostało zdjęte z afisza po zaledwie kilku przedstawieniach. Muzycy uważali to dzieło całkowicie niemożliwe do wygrania, publiczność zaś, w oburzeniu, prawie gotowa była wszcząć rozruchy. Jednak późniejsze wystawienie opery w Weimarze przez Liszta spotkało się z aprobatą ze strony krytyków i przyczyniło się do rehabilitacji tej opery. Po klęskach początkowych z wykonaniem swego dzieła, próbując ocalić najwartościowsze momenty tej opery, na motywach z pierwszego i drugiego aktu, Berlioz oparł swą słynną uwerturę Karnawał rzymski op. 9 (1843).

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Hector Berlioz - Les Troyes (2002)

2010-03-23T20:57:24Z

Hector Berlioz - Les Troyes (2002)

CD1
1. Les Troyens / Act 1 - No.1 Choeur de la populace troyenne: "Ha! Ha! Après dix ans"	3:52
2. Les Troyens / Act 1 - No.2 Récitatif et air: "Les Grecs ont disparu" - "Malheureux roi!" 8:31
3. Les Troyens / Act 1 - "Chorèbe..." - No.3 Duo: "C'est lui!" - "Quitte-nous dès ce soir"	15:50
4. Les Troyens / Act 1 - No.4 Marche et hymne: "Dieux protecteurs"	5:45
5. Les Troyens / Act 1 - No.5 Combat de ceste - Pas de lutteurs		1:34
6. Les Troyens / Act 1 - No.6 Pantomime: "Andromaque et son fils!"	6:56	
7. Les Troyens / Act 1 - No.7 Narration: "Du peuple et des soldats"	1:08
8. Les Troyens / Act 1 - No.8 Ottetto et double choeur: "Châtiment effroyable!"	6:21
9. Les Troyens / Act 1 - No.9 Récitatif et choeur: "Que la déesse" - "A cet objet sacré"	1:46
10. Les Troyens / Act 1 - No.10 Air: "Non, je ne verrai pas"		2:13
11. Les Troyens / Act 1 - No.11 Final: Marche troyenne: "De mes sens éperdus..." 7:09

CD2
1. Les Troyens / Act 2 - No.12 Scène et récitatif: Introduction - "O lumière de Troie!" - "Ah!... fuis, fils de Vénus"	8:38	
2. Les Troyens / Act 2 - No.13 Récitatif et choeur: "Quelle espérance" - "Le salut des vaincus"	2:30
3. Les Troyens / Act 2 - No.14 Choeur-prière: "Ah! Puissante Cybèle"	3:28	
4. Les Troyens / Act 2 - No.15 Récitatif et choeur: "Tous ne périront pas" - "O digne soeur d'Hector"	4:29	
5. Les Troyens / Act 2 - No.16 Final: "Complices de sa gloire" - "Le trésor! le trésor!" 5:21
6. Les Troyens / Act 3 - No.17 Choeur: "De Carthage les cieux"		1:38
7. Les Troyens / Act 3 - No.18 Chant national: "Gloire à Didon"		2:40
8. Les Troyens / Act 3 - No.19 Récitatif et air: "Nous avons vu finir" - "Chers Tyriens"	7:20	
9. Les Troyens / Act 3 - No.20 Entrée des constructeurs		1:08	
10. Les Troyens / Act 3 - No.21 Entrée des matelots	1:03
11. Les Troyens / Act 3 - No.22 Entrée des laboureurs	1:52
12. Les Troyens / Act 3 - No.23 Récitatif et choeur: "Peuple!" - "Gloire à Didon"	3:19
13. Les Troyens / Act 3 - No.24 Récitatif et duo: "Les chants joyeux" - "Sa voix fait naître dans mon sein"	0:21
14. Les Troyens / Act 3 - No.25 Récitatif et air: "Echappés à grand peine" - "Errante sur les mers"2:20
15. Les Troyens / Act 3 - No.26 Marche troyenne dans le mode triste - "J'éprouve une soudaine et vive impatience"	2:08	
16. Les Troyens / Act 3 - No.27 Récitatif: "Auguste reine, un peuple"	3:32	
17. Les Troyens / Act 3 - No.28 Final: "J'ose à peine annoncer" - "Annonce à nos Troyens" - "Des armes! des armes!"	8:00

CD3
1. Les Troyens / Act 4 - No.29 Chasse royale et orage - Pantomime	9:38
2. Les Troyens / Act 4 - No.30 Récitatif: "Dites Narbal, qui cause"	3:31
3. Les Troyens / Act 4 - No.31 Air et duo: "De quel revers" - "Vaine terreur!"	4:06
4. Les Troyens / Act 4 - No.32 Marche pour l'entrée de la reine	1:24	
5. Les Troyens / Act 4 - No.33 Ballet: a) Pas des almées	4:17
6. Les Troyens / Act 4 - No.33 Ballet: b) Danse des esclaves	4:21
7. Les Troyens / Act 4 - No.33 Ballet: c) Pas d'esclaves nubiennes	1:22
8. Les Troyens / Act 4 - No.34 Scène et chant d'Iopas: "Assez, ma soeur" - "O blonde Cérès"6:38
9. Les Troyens / Act 4 - No.35 Récitatif et quintette: "Pardonne, Iopas" - "O pudeur!" 6:26
10. Les Troyens / Act 4 - No.36 Récitatif et septuor: "Mais bannissons" - "Tout n'est que paix"	5:18
11. Les Troyens / Act 4 - No.37 Duo: "Nuit d'ivresse et d'extase"	Josephine Veasey	10:06	

CD4
1. Les Troyens / Act 5 - No.38 Chanson d'Hylas: "Vallon sonore"	5:13	
2. Les Troyens / Act 5 - No.39 Récitatif et choeur: "Préparez tout" - "Chaque jour voit grandir la colère"	2:20	
3. Les Troyens / Act 5 - No.40 Duo: "Par Bacchus! ils sont fous"	2:12	
4. Les Troyens / Act 5 - No.41 Récitatif mesuré et air: "Inutiles regrets" - "Ah! quand viendra"6:37
5. Les Troyens / Act 5 - No.42 Scène: "Enée!..."	2:31
6. Les Troyens / Act 5 - No.43 Scène et choeur: "Debout, Troyens" - "Alerte!"	1:54
7. Les Troyens / Act 5 - No.44 Duo et choeur: "Errante sur tes pas" - "Italie!"	5:27	
8. Les Troyens / Act 5 - No.45 Scène: "Va, ma soeur, l'implorer"	3:07
9. Les Troyens / Act 5 - No.46 Scène: "En mer, voyez!" - "Dieux immortels!"	4:23
10. Les Troyens / Act 5 - No.47 Monologue: "Ah! Ah! He vais mourir..."	3:06
11. Les Troyens / Act 5 - No.48 Air: "Adieu, fière cité"	3:30	
12. Les Troyens / Act 5 - No.49 Cérémonie funèbre: "Dieux de l'oubli" - "S'il faut enfin qu' Enée"4:49
13. Les Troyens / Act 5 - No.50 Scène: "Pluton... semble m'être propice"	4:16
14. Les Troyens / Act 5 - No.51 Choeur: "Ah! au secours!" - No.52 Imprécation: "Rome... Rome.. immortelle"	2:35

Énée - Jon Vickers
Cassandre - Berit Lindholm
Didon - Josephine Veasey
Chorèbe - Peter Glossop
Anna - Heather Begg
Narbal - Roger Soyer
Iopas - Ian Partridge
Hylas - Ryland Davies
Panthée - Anthony Raffell
Ascagne - Anne Howells
Spectre de Priam - Raimund Herinckx
Spectre de Cassandre - Elizabeth Bainbridge
Spectre d'Hector - Dennis Wicks
Priam - Pierre Thau
Helenus - David Lennox
Un chef grec - Dennis Wicks
Le dieu Mercure - Pierre Thau
Hécube - Elizabeth Bainbridge

Chorus and Orchestra of the Royal Opera House,
Covent Garden - Colin Davis, 1969

For much of the 19th and early 20th century the music of Berlioz was considered an in joke in musical circles. Outside of the Symphonie Fantastique and perhaps Harold in Italy, most of the composer's works were relegated to the dustbins of history. This was especially true of his operas, which were considered old fashioned and failures. But around 1960 the tables began to turn. Sir Colin Davis and a small group of other conductors spearheaded a Berlioz revival in Britain and America, rescuing many of Berlioz' greatest works from oblivion. Perhaps the biggest feat of rescue was this seminal recording of Berlioz' masterwork, Les Troyens.

Berlioz had a life long love affair with Virgil and particularly with his Carthaginian heroine Dido. Les Troyens is his paean to Dido and to classical civilization in general. The opera is in the traditional French five-act form. The first two acts concern the downfall of Troy and center around the figure of Cassandra, the prophet who is given the gift of second sight but the curse never to be believed. From the outset, Berlioz is a master of the dramatic set piece. The opera opens with Trojans rushing to the plain in front of the city, celebrating the seeming retreat of the Greeks. The music is jubilant and even a little vulgar....so that the dramatic entry of Cassandra and her powerful aria is all the more highlighted. Cassandra is a vocally terrifying role. She only is present in the first two acts, and yet she dominates these acts completely. Berit Lindholm is phenomenal in the role, her voice powerful and yet capable of the tender turns of phrase the role requires when Cassandra remembers her husband Corebus.

The last three acts concern the love affair between Dido and Aeneas. Much of this music is grand, in the best French sense. Court scenes abound, there is a fourth act ballet, the justly famous Royal Hunt and Storm, and long, aching love duets between the principals. Once again, the female role dominates, Though Aeneas gets a wonderful, dramatic and musical treatment by the incomparable Jon Vickers, it's Dido with whom you feel sympathy....the composer did as well. Josephine Veasey is a wonder, simply breathtaking.

The opera is expertly conducted by Sir Colin Davis and the Orchestra of Covent Garden. Davis is one of the least appreciated conductors of his generation. He does not have the charisma of a Karajan or a Bernstein, but he makes up for it in taste, balance, and a fierce and self-effacing dedication to the composer's intentions. Les Troyens has become increasingly popular in the last 30 years, and there is some competition, particularly on DVD. The Met production from 1983 is quite good vocally, though the staging is uninspired at best and laughable at worst. But even with the likes of Tatianna Troyanos and Jessye Norman, that production doesn't hold a candle vocally or musically to Davis' original. Even Davis' own newer recording doesn't compare vocally. This is the version of this masterpiece to get. Berlioz' world in this piece is unique and beautiful and will give you endless hours of enjoyment.

A word to the wise consumer...EMI has packaged Les Troyens with Berlioz' two other worthy operas as well and sells them for a cheaper price in total. You don't get libretti, which can be a problem in this repertoire, but otherwise, the deal is far better than springing for each opera separately. It is not available currently at Amazon.us but can be ordered easily from Amazon.uk. I would recommend that to those who just can't enough Berlioz. It's a real deal! --- Christopher Forbes "weirdears" (Brooklyn,, NY)

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Hector Berlioz - Romeo and Juliet (Maazel)

2010-03-22T23:16:41Z

Hector Berlioz - Roméo Et Juliette (Maazel)


  	Part One
A1 Introduction - Combats - Tumulte - The Prince Intervenes 		
A2 Prologue 		
  	Part Two
B1 Roméo Seul. Tristesse – Bruits Iontains De Concert Et Bal – Grande Fête Chez Capulete 		
  	Part Three
B2 Nuit Sereine. Le Jardin De Capulet, Silencieux Et Désert. Les Jeunes Capulets, Sortant De La Fête, Passent En Chantant Des Rémini Scences De La Musique Du Bal – Scène D’amour 		
  	Part Four
C1 Scherzo. La Reine Mab, Ou La Fée Des Songes Part III 		
C2 Convoi Funèbre De Juliette 		
C3 Roméo Au Tombeau Des Capulets. Invocation – Réveil De Juliette – Joie Délirante, Désespoir, Dernières Angoisses Et Mort De Deux Amants 		
  	Finale
D1 La Foule Accourt Au Cimetière. Rixe Des Capulets Et Des Montagus. Quoi! Roméo De Retour! Récitatif Et Air Du Père Laurence. Mais Vous Avez Repris La Guerre De Famille! Serment De Réconciliation

Christa Ludwig (Mezzo Soprano), 
Michel Sénéchal (Tenor), 
Nicolai Ghiaurov (Bass)

Vienna Philharmonic Orchestra
Lorin Maazel – conductor

Recorded December 1973 in the Sofiensaal, Vienna

Roméo et Juliette is a "symphonie dramatique", a large-scale choral symphony, which was first performed on 24 November 1839. The libretto was written by Émile Deschamps and the completed work was assigned the catalogue numbers Op. 17 and H.79. It is based on Shakespeare's play Romeo and Juliet; it is regarded as one of Berlioz's finest works, and it is among the most original in form. The score is Berlioz's most comprehensive and detailed programmatic piece.

Structurally and musically, Roméo et Juliette is most indebted to Beethoven's 9th symphony - not just due to the use of soloists and choir, but in factors such as the weight of the vocal contribution being in the finale, and also in aspects of the orchestration such as the theme of the trombone recitative at the Introduction. The roles of Roméo and Juliette are represented by the orchestra, and the narrative aspects by the voices. Berlioz's reasoning follows:

If, in the famous garden and cemetery scenes, the dialogue of the two lovers, Juliet's asides, and Romeo's passionate outbursts are not sung, if the duets of love and despair are given to the orchestra, the reasons for this are numerous and easy to understand. First, and this reason alone would be sufficient, it is a symphony and not an opera. Second, since duets of this nature have been treated vocally a thousand times by the greatest masters, it was wise as well as unusual to attempt another means of expression.

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