Topic: 132) Recital Vienna 1984
LINK: DOWNLOAD
Updated: Friday, 20 September 2013 6:56 PM MEST
Post Comment | View Comments (3) | Permalink | Share This Post
« | July 2009 | » | ||||
![]() |
||||||
S | M | T | W | T | F | S |
1 | 2 | 3 | 4 | |||
5 | 6 | 7 | 8 | 9 | 10 | 11 |
12 | 13 | 14 | 15 | 16 | 17 | 18 |
19 | 20 | 21 | 22 | 23 | 24 | 25 |
26 | 27 | 28 | 29 | 30 | 31 |
LINK: DOWNLOAD
Even Sir Colin Davis has rarely conducted a more electrifying Berlioz performance on record than here, demonstrating—with the help of singers from the presentation he promoted at Covent Garden—that for all its awkwardness on stage, this can be a thrilling opera on record. He is enormously helped by his cast, and most of all by Nicolai Gedda here giving one of the very finest, most powerful, most searching performances of his whole career.
The Philips transfer engineers have been just as concerned as in the other big opera project in this series, Les troyens, to use the format of CD with maximum benefit. So the First Act is complete on the first two discs, with each of the two tableaux (six scenes in the first, seven in the second) taking up a whole disc each. That leaves the third disc for the whole of the Second Act, over 70 minutes meaning that there is no unnecessary break anywhere.
The sound too remains very vivid, with the firmness of focus and sense of presence characteristic of Philips engineering of the period all the more apparent on CD. The orchestra is not quite so forward as in some of the Davis Berlioz series, but that sets the stage picture the more clearly, and even the most complex scenes notably the final scene of the casting—are sharpened by the separation of voices. What is not so welcome is that there seems to be rather more treble emphasis than usual, occasionally to the point of fierceness, but that is something which will very much depend on individual hi-fi equipment. I should prefer to have had that brightness compensated by more body in the orchestral sound, but that is to be hyper-critical. This is a superb set, which as in the original issue comes with generous essays as well as libretto. David Cairns's essay on the romantic cult of the Artist-hero, is particularly valuable, along with its explanation of Davis's text, which restores cuts enforced in Liszt's Weimar version and presents the piece (as at Covent Garden) as an extended opera-comique with dialogue.
-- Edward Greenfield, Gramophone [1/1989]
Benvenuto Cellini - Nicolai Gedda
Teresa - Christiane Eda-Pierre
Giacomo Balducci - Jules Bastin
Fieramosca - Robert Massard
Pope Clement VII - Roger Soyer
Francesco - Derek Blackwell
Bernardino - Robert Lloyd
Innkeeper - Hugues Cuisnod
Pompeo - Raimund Herincx
Ascanio - Jane Berbioli
Speaker - Janine Reiss
BBC Symphony Orchestra, Chorus of the Royal Opera House, Covent Garden
Conductor Sir Colin Davis
LINK: DOWNLOAD
Martina Arroyo - soprano
Shirley Verrett - mezzosoprano
Nicolai Gedda - tenor
Cesare Siepi - bass
Cleveland orchestra
Conductor Lorin Maazel
Recorded in New York, November 27, 1972
LINK: DOWNLOAD
Live recording from November 26, 1954.
LINK: DOWNLOAD
Synopsis
The action takes place in 19th century Provence.
Act 1: A mulberry grove on Midsummer night (Fête de la Saint-Jean).
Act 2: In front of the Arles Amphitheatre the same afternoon.
The crowd is singing and dancing a farandole as it waits for the start of a race. Mireille and Vincent arrive separately but they are greeted joyfully and sing the Song of Magali. After the race, Taven takes Mireille aside and tells her that she has just seen three young men, Ourrias, Alari and Pascoul arguing who should claim Mireille's hand. Alone, Mireille swears that nothing will part her from Vincent. Ourrias enters and forces his boastful attentions on her but Mireille politely rejects his advances. Mireille's father Ramon enters, followed shortly by Ambroise, the father of Vincent. Ambroise asks for advice on what to do about his son who is in love with a rich heiress; Ramon suggest beating the boy to cure him. Shocked, Ambroise is reminded by Ramon of a father's prerogative which used to extend even to life and death over his children. At this, Mireille comes forward crying "Kill me!" - she is the one Vincent loves. Ramon is outraged, orders Mireille to go home then turns on Vincent and Ambroise.
Act 3: First Tableau. The Val d'Enfer in the country outside Arles. Night.
Ourrias and some friends are in the wild spot, supposedly peopled by spirits. Ourrias wants to buy a potion from Taven. Alone, Ourrias vents his fury and jealousy and lies in wait for Vincent, who soon appears. Ourrias insults him but although Vincent tries to calm him down, Ourrias strikes him with his trident, and thinking he has killed him, runs off. Taven hears cries and curses Ourrias as he rushes off, then tends to the unconscious Vincent.
Second Tableau. The banks of the Rhone.
Full of remorse, Ourrias hurries to the river bank and calls the ferryman. An echo greets his call and moans sound with ghosts floating above the water. The ferryman (Passeur) arrives and Ourrias impatiently gets aboard. The waters swell, and as the boatman reminds Ourrias of his crime, the boat sinks beneath the waves.
Act 4: First Tableau. Ramon's farm late the same night.
While the harvesters celebrate, Ramon is sad and knows that by denying Mireille's love he has destroyed his dream of a happy old age. From her window Mireille sees a young shepherd singing, and envies his carefree life. Unseen, Vincenette, Vincent's sister, comes to tell her that Vincent is wounded: Mireille resolves to set off at once to Saintes-Maries.
Second Tableau. The Crau desert.
Mireille, staggers in already tired, and dazzled by the sun, faints as she hears shepherd's pipes in the distance. She makes a last effort to continue her journey.
Act 5: In front of the chapel of Saintes-Maries-de-la-Mer. Midday.
Pilgrims are singing. Vincent is there, looking for Mireille, and she arrives, exhausted and collapses in his arms. Ramon arrives with Vincenette, and forgives her, but Mireille dies and is called to heaven by a celestial voice.
LINK: DOWNLOAD
CD 1: DOWNLOAD
CD 2: DOWNLOAD
LINK: DOWNLOAD
This is a different performance from the one that I have already posted, though the cast is almost the same . That was a studio recording, while this is an in-house recording of the live performance from the Met, November 27, 1965.
Adina - Mirela Freni
Nemorino - Nicolai Gedda
Belcore - Mario Sereni
Dr. Dulcamara - Fernando Corena
Gianetta - Joy Clements
Metropolitan Opera House orchestra and chorus
Conductor Thomas Schippers
LINK: DOWNLOAD
Der Graf - Klaus Hirte
Die Gräfin - Gizela Litz
Louise - Kari Lovaas
Hannchen - Lisa Otto
Der alte Baron Reinthal - Dieter Miserre
Der junge Baron Reinthal - Nicolai Gedda
Johann - Walter Berry
Orchestra Der Bayerischen Staatsoper Munchen
Conductor Otmar Suitner
Recorded in January 1975
LINK: DOWNLOAD
Part 1: DOWNLOAD
Elisabeth Schwarzkopf - Annina
Nicolai Gedda - Duke
Emmy Loose - Ciboletta
Erich Kunz - Caramello
Philharmonia Chorus, Philharmonia Orchestra London,
Conductor Otto Ackerman
Recorded in London, May 1954
LINK: DOWNLOAD
LINK: DOWNLOAD
Faust - Nicolai Gedda
Marguerite - Victoria De Los Angeles
Siebel - Liliane Berton
Marthe - Rita Gorr
Méphistophéles - Boris Christoff
Valentin - Ernest Blanc
Wagner - Victor Autran
Orchestra and Chorus of Théatre National de l'Opéra
Chorus leader René Duclos
Conductor André Cluytens
Recorded in Paris, October 1958
CD 1, part 1: DOWNLOAD
CD 1, part 2: DOWNLOAD
CD 2, part 1: DOWNLOAD
CD 2, part 2: DOWNLOAD
Live performance from Salle Pleyel in Paris, December 1984
Time: The 15th century
Place: The mountains of southern France
Scene 1
Iolanta has been blind from birth, but no one has ever told her. In a beautiful garden on the king's estate, her friends bring flowers and sing to her.
Scene 2
After announcing the king's arrival, Alméric is warned by Bertrand not to speak of light with Iolanta or to reveal that Iolanta's father is the king. She is betrothed to Robert, who is also unaware of her misfortune. The king arrives with a physician who states Iolanta can be cured, but only if she is told and desires to see. The king refuses the treatment, fearing for Iolanta's happiness.
Scene 3
Wishing to avoid the marriage, Robert and Vaudémont escape to the garden where they encounter Iolanta. Robert, convinced she is a sorceress, leaves to prepare his troops. Vaudémont stays and discovers her blindness. They fall in love, after he explains light and color to her.
Scene 4
The couple is discovered. Vaudémont pledges his love, whether Iolanta is blind or not. The king threatens to kill Vaudémont if the physician's treatment fails. Robert returns, having fallen in love with another. The king cancels the wedding contract, and gives Iolanta to Vaudémont. The treatment works and Iolanta can see!
LINK: DOWNLOAD
Performers: José Van Dam (Bass), Mignon Dunn (Mezzo Soprano), Éliane Lublin (Soprano),
Christiane Château (Soprano), Sonia Nigoghossian (Soprano), Marie Bertola (Soprano),
Martine Surais (Alto), Claude Vierne (Soprano), Carla Rutili (Alto),
Mireille Laurent (), Elya Weismann (Soprano), Maria Mella (Alto),
Martyn Hill (Tenor), Jacques Mars (Baritone), Jean-Jacques Doumene (Bass),
René Massis (Baritone), Nicolai Gedda (Tenor), Pierre-Yves Lemaigat (),
Robert Tallec (Baritone), Tibere Raffalli (Baritone), Guy De Kehrig (Tenor),
Jean-Marie Frémeau (Baritone), Beverly Sills (Soprano), Guy Gabelle (Baritone)
Conductor: Julius Rudel
Orchestra/Ensemble: Paris Opera Chorus, Paris Opera Orchestra, Maitrise de la Resurrection Chorus
Recorded in Paris, June 1977
LINK: DOWNLOAD
Hanna Glawari - Elisabeth Schwarzkopf
Graf Danilo Danilowitsch - Erich Kunz
Camille de Rosillon - Nicolai Gedda
Valencienne - Emmy Loose
Philharmonia Orchestra and Chorus, London, November 1952
Conductor Otto Ackerman
LINK: DOWNLOAD
Recorded in London, July 1962
LINK: DOWNLOAD
Hanna Glawari - Anneliese Rothenberger
Graf Danilo Danilowitsch - Nicolai Gedda
Valencienne - Erika Köth
Camille de Rosillon - Robert Ilosfalvy
Chor der Bayerischen Rundfunks
Chorleitung Eolfgang Schubert
Simfonie-Orchester Grunke
Dirigent Willy Mattes
Recording from 1967.
LINK: DOWNLOAD
Gedda, Watts, Loyd
Conductor Sir Adrian Boult.
Recorded in London, July 1975
Elgar's friend Jaeger (Enigma 's "Nimrod") asserted that The Dream of Gerontius was not a work that could be appreciated after one hearing. Well said, but the loving dedication of Boult's recording (made in 1975, and the conductor's valedictory choral recording) has tremendously persuasive powers. There was a time when this recording competed with versions led by Malcolm Sargent and John Barbirolli; neither of those seem to be in the catalogue at the moment, and among the "old classics," only Benjamin Britten's version still is around. Boult's soloists are jewels. Gerontius is sung operatically (but with subtlety and grace) by Gedda, whose faint accent provides an unexpected touch of exoticism. Perhaps this recording's finest moment is when Gerontius's soul is granted a lightning-flash glimpse of the Almighty; "Take me away," he exclaims, "and in the lowest deep / There let me be." No one I've heard captures that moment's agony and ecstasy as well as Gedda, and certainly not with such tonal beauty. Watts is a formidable angel, but she shows great compassion. As the Priest (and later, the Angel of the Agony), Robert Lloyd's dark bass scores more points, and his two arias also are highlights of this recording. Boult conducts like a convert, inspiring the choirs and the orchestra to spiritual heights. His conducting is not the most dramatic, but it is the most alluring, "sacred" as it is.
The Dream of Gerontius is not an easy work – it's like Strauss's Death and Transfiguration, but with the scale and flavor of Parsifal – but eventually every devotee of choral music needs to come to term with it. Boult's recording is an excellent opportunity.
1999, Raymond Tuttle.
LINK: http://rapidshare.com/files/256972341/Elgar_The_Dream_Of_Gerontius_Gedda_Watts_Lloyd_Boult_Mp3.rar
King Louis VI bass ............................ Siegfried Vogel
Adolar, Count of Nevers and Rethel tenor ...... Nicolai Gedda
Lysiart, Count of For�and Beaujolais bass ... Tom Krause
Euryanthe of Savoy soprano .................... Jessye Norman
Eglantine of Puiset soprano ................... Rita Hunter
Rudolf tenor .................................. Harald Neukirch
Bertha soprano ................................ Renate Krahmer
Leipziger Rundfunkchor
Chorus master: Horst Neumann
Staatskapelle Dresden
Marek Janowski, conductor
Recorded: June & July 1974, Lukaskirche, Dresden
LINK: DOWNLOAD