Berlioz: Les Troyens (LSO)
The epic tale of the fall of Troy haunted Berlioz from childhood and inspired some of his
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most passionately dramatic, richly colourful music. This is Colin Davis's second recording of Les Troyens, following his 1969 version. Magnificent though it was, some reckoned that reading lacked something in zip, but such reservations could never, ever apply here. Recorded across several lavishly praised concert performances in London in December 2000, this Troyens has an extraordinary electricity and rhythmic drive. Ben Heppner combines lyricism with heroic strength as Aeneas; Michelle de Young as Dido, though not erasing memories of Janet Baker' s brilliance in the role, produces a ravishing, creamy sound. Both perhaps lack the last ounce of character (and their French is occasionally flat-vowelled). Petra Lang as Cassandra is attention-grabbing from the start of the opera with her panache and commitment. Also catching the ear are Stephen Milling's granite-like Narbal and Sara Mingardo's bewitching Anna. The LSO gives its magnificent all, and the London Symphony Chorus is likewise in terrific form, although some will miss the clear-cut timbre of a fully-fledged opera chorus. The ultimate stars, though, are Berlioz and his faithful champion Davis. --Andrew Green
most passionately dramatic, richly colourful music. This is Colin Davis's second recording of Les Troyens, following his 1969 version. Magnificent though it was, some reckoned that reading lacked something in zip, but such reservations could never, ever apply here. Recorded across several lavishly praised concert performances in London in December 2000, this Troyens has an extraordinary electricity and rhythmic drive. Ben Heppner combines lyricism with heroic strength as Aeneas; Michelle de Young as Dido, though not erasing memories of Janet Baker' s brilliance in the role, produces a ravishing, creamy sound. Both perhaps lack the last ounce of character (and their French is occasionally flat-vowelled). Petra Lang as Cassandra is attention-grabbing from the start of the opera with her panache and commitment. Also catching the ear are Stephen Milling's granite-like Narbal and Sara Mingardo's bewitching Anna. The LSO gives its magnificent all, and the London Symphony Chorus is likewise in terrific form, although some will miss the clear-cut timbre of a fully-fledged opera chorus. The ultimate stars, though, are Berlioz and his faithful champion Davis. --Andrew Green
Advantages: Colourful and always exciting Disadvantages: absolutely none
...not have been a Soldier's March in Berlioz's first serious, but ultimately unfinished opera "Les Francs-Juges")
V. Songe d'une nuit de Sabbat (Dream of the Witches' Sabbath)
The artist sees himself in a Witches' Sabbath, surrounded by terrifying shadows, warlocks, monsters of various kinds, all gathered to participate in his funeral. Strange noises, moaning, high-pitched laughter, distant screaming that is answered by another scream. (Certainly some of the most imaginary tone-painting an orchestra could produce. And remember, its 1830!) The melody of the beloved makes its appearance amid great clamour, but it has lost its noble and sensitive character. It is nothing but an everyday dance-tune, trivial and grotesque: SHE has arrived in the Sabbath… She is greeted by loud shouts… She throws herself amid the demonic orgy… The death bells...
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Advantages: Great performances of popular favourites and some rare gems Disadvantages: Barely none, with perhaps slight issues with sound.
...and just a little bit menace. At 5:40 the tingling percussion are particularly chilling and is a little touch I just love to bits.
Berlioz's more bombastic writing is reserved for the following two pieces. The Rákóczy March was originally written as a tribute to Hungary when the composer went to conduct some concerts there and it has subsequenly become a template of any future arrangements of the nationalistic march. Surprising the people who first heard it, the music following the initial trumpet fanfare turned to perform the melody with more subtlety than bombast, only gathering power as it neared its conclusion and thus creating one of the most orgasmic conclusions of Berlioz's career. Finally there is the absolutely wonderful pantomime scene from his massive opera LesTroyens, called "The Royal Hunt and Storm." With imitations of hunting...
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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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![Les Troyens - Hector Berlioz [2000]](http://picnic.ciao.com/uk/67023323.jpg)
![Troyens - Hector Berlioz, Les [2004]](http://picnic.ciao.com/uk/65499515.jpg)
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07.08.2004
06.05.2006
