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
Orchestra / Ensemble(s): (Elisabeth) Brasseur Choir; Lamoureux Orchestra; French Radio Children's Choir
Date of Release: 10/02/2003
Recomended Retail Price: 20.99 GBP
Label / Distributor: The Originals / Universal Manufacturing and Logistics
Pieces in Set: 2
Running Time: 3 hours 31 minutes
Genre(s): Vocal and choral, Orchestral
Stereo: Mixed
SPAR Code: ADD
EAN: 28946367322
Catalogue Number: 463
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
Conductor: Igor Markevitch
Orchestra / Ensemble: Lamoureux Orchestra
Orchestra / Ensemble: (Elisabeth) Brasseur Choir
Orchestra / Ensemble: French Radio Children's Choir
Work 2
Work Title: Harold en Italie, Op. 16
Excerpt(s): 1. Harold aux montagnes 2. Marche des Pèlerins 3. Sérénade 4. Orgie des brigands
Composer: (Louis-)Hector Berlioz (1803 - 1869)
Genre: Orchestral
Date Written: 1834
Conductor: Igor Markevitch
Orchestra / Ensemble: Berlin Philharmonic Orchestra
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 Damnation de Faust (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: Good sound quality, strong and compelling interpretation Disadvantages: really not applicable
...Now, we all hear of Berlioz for his wonderful and original Symphonie fantastique of 1830 and yet how many classical music fans can say they know this work as well as that? However, I would encourage you to get to know it. Berlioz originally wrote it as a viola concerto for the great virtuoso Paganini, who claimed it was not virtuosic enough. What a great joy to hear more from the viola! At times taking a solo, at others, shimmering in the background of the scenes. Pictorial and romantic, exciting and dynamic are just some words I would use to describe this CD.
The LSO must be praised for their sensitive playing. Davis takes the reins to create a most compelling and vivid interpretation of Harold's journey. The balance of the solo viola line especially in the third movement here is well judged. The tempi are flexible and the pace...
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Ciao members have rated this review on average somewhat helpful
somewhat helpful 09.08.2006
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