relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects--rather too many of them using strobes--and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values--White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. The DVD has subtitles in English, German and Dutch, and menus in those languages, as well as French, Italian, Spanish and Swedish. --Roz Kaveney
relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects--rather too many of them using strobes--and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values--White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. The DVD has subtitles in English, German and Dutch, and menus in those languages, as well as French, Italian, Spanish and Swedish. --Roz Kaveney
Berlioz's La Damnation de Faust--is to draw out a lyricism in keeping with the composer's original intentions, then he has done his job very well indeed. This particular piece is one which lends itself to a long-term appreciation, as it is not the most uplifting subject matter. However, the orchestra is both beautiful in accompaniment and vibrant in thematic moments, and provides a wonderful partner to the talents of the singers. Sabbatini's Faust is rich in tone, and he interestingly adds a certain despair to his voice as the piece progresses. Pertusi, in his role as Mephistopheles, is brilliantly malevolent; this contrasts with the porcelain mezzo of Shkosa. In particular there are some real highlights, most notably the "Dance of the Sylphs" and Faust's aria, but it is primarily the high standard of orchestral playing which stands out, cementing the LSO's reputation. The only drawback to an otherwise very worthwhile recording is the choir, which at times sounds tired and strained. But in reality, this is only a minor blemish to yet another intelligent live performance. --Dominic Sewell
Main Performer: Edith Mathis (Soprano); Sir Donald McIntyre (Bass-baritone); Stuart Burrows (Tenor); Thomas Paul (Bass)
Orchestra / Ensemble(s): Boston Boys' Choir; Tanglewood Festival Chorus; Boston Symphony Orchestra
Date of Release: 10/1996
Label / Distributor: Deutsche Grammophon / Universal Manufacturing and Logistics
Pieces in Set: 2
Running Time: 2 hours 1 minute
Genre(s): Vocal and choral
Producer: Thomas Mowrey, Franz Christian Wulff
SPAR Code: ADD
EAN: 28945301921
Catalogue Number: 453
Work 1
Work Title: (La) Damnation de Faust, Op. 24
Excerpt(s): 1. PART 1 - Le viel hiver (Introduction) 2. Les bergers quittent 3. Mais d'un éclat guerrier; Hungarian March 4. PART 2 - Sans regrets j'ai quitté 5. Christ vient de ressusciter; Hélas! doux chants de ciel 6. O pure émotion!; A boire encor! 7. Certain rat 8. Amen (fugue) 9. Vrai Dieu, Messieurs!; Une puce gentille 10. Voici des roses 11. Dors, heureux Faust! 12. Ballet des Sylphes; Quelle céleste image 13. Villes entourées...Jam nox stellata 14. PART 3 - La retraite 15. Merci doux crépuscule; Je l'entends 16. Que l'air est étouffant!; Autrefois un roi de Thulé 17. Esprits des flammes (Evocation) 18. Menuet des Follets, 'Will-o'-the-wisp' 19. Devant la maison (Sérénade) 20. Grands dieux! que vois-je? 21. Allons, il est trop tard 22. PART 4 - D'amour l'ardente flamme; Au son des trompettes 23. Nature immense (Invocation) 24. A la voûte azurée 25. Dans mon coeur retentit 26. Has! Irimiru Karabrao (Pandemonium); Alors l'Enfer se tut (Epilogue) 27. Laus! Hosanna!; Remonte au ciel (Apotheosis)
Composer: (Louis-)Hector Berlioz (1803 - 1869)
Genre: Vocal & Choral
Date Written: 1845-6
Date Recorded: 1973
Conductor: Seiji Ozawa
Orchestra / Ensemble: Boston Symphony Orchestra
Orchestra / Ensemble: Tanglewood Festival Chorus
Orchestra / Ensemble: Boston Boys' Choir
Main Performer: Edith Mathis (Soprano), Sir Donald McIntyre (Bass-baritone), Stuart Burrows (Tenor), Thomas Paul (Bass)
Opera Part(s): Edith Mathis, Sir Donald McIntyre, Stuart Burrows, Thomas Paul
Advantages: Great performances of popular favourites and some rare gems Disadvantages: Barely none, with perhaps slight issues with sound.
....
As is appropriate, there is quite a lot of Berlioz included, for he is one of the greatest orchestrators that ever was and his music really defines what "colour" in music is. There are two selections from the "dramatic legend" La DamnationdeFaust (a strange cantata-opera-symphony hybrid), beginning with the "Ballet de Sylphes," a light and fairy-like little waltz, giving ample proof that Berlioz could write music subtle as wind when he wanted to. The following "Menuet des feux follets" is likewise sweetly light, but features little surges of drama appropriate in a witches' sabbath, which allows the good humour of drunken dancing to sweep the section to a close. To cap off the sensitive Berlioz, there is the subtle and magical "Queen Mab Scherzo" from his "dramatic symphony" Roméo et Juliette that is filled with quicksilver movement, magical feeling...
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Ciao members have rated this review on average very helpful
Advantages: The experience of getting inside an artistic head Disadvantages: French not quite idiomatic
...to this CD is almost like eave-dropping on her private musings. It is a very intimate listening experience. You don't even have to understand French to know exactly what she is thinking as she sings the songs. Everything that needs to be communicated is there in the voice itself. A mellow and vibrant burgundy voice with a woodsy clarinet-like quality. Kasarova might not speak French well, but she sings like she has a fine French wine in her veins.
Tracks:
BERLIOZ: Les nuits d'ete (Summer Nights):
This set of 6 songs don't really tell a single story, though they are songs set to the poems of Theophile Gautier and sharing the 'by-the-water' background theme. It is as if the singer is an unconsumated/abandonned lover who is sitting alone by the seashore and musing of her many missed romantic opportunities.
1. Villanelle
2. Le spectre de la rose
3...
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Ciao members have rated this review on average very helpful
very helpful 14.04.2007
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