One heard it in the bells of the fifth act, but also in the alluring, yet slightly distancing delivery of so many vocal lines. Laurent naouris Golaud was not always vocally beautiful, but why should he have been? There was something far more valuable here, dramatic truth: again, not in the sense of vulgar display, but in the emergence of a tortured soul from maeterlinck, the vocal line, and the décor orchestral. The modern cliché of feeling his pain was in a better sense entirely justified. Jérome varnier hinted at a more interesting Arkel than one often feels, managing adroitly the difficult balancing act between young voice and old role. His psychological insights led nowhere, it seemed, and yet one knew at some level their truth.
M: Pelleas Et Melisande Blu-ray: Isabel rey
Such was, of course, very much the due also of the soloists. No climax registered more overwhelmingly than in the fourth act, thanks both to the orchestra and to the towering portrayal of Pelléas by Stéphane degout, every inch the equal (at least!) of Simon keenlyside in 2007. This Pelléas found himself, Tristan-like, in death; his was a frank yet still subtle sexual awakening perhaps, given its pace, more powerful still. Degouts way with the French text was second to none; its alchemic union with Debussys music was not the least of the wonders we heard. Musical and dramatic values were utterly as the one, a hallmark of the performance as a whole. Sandrine piaus pure-voiced Mélisande had her own tale to tell, or perhaps not to tell; one was more enchanted than infuriated, but the circularity that incites, and not always positively, was tangible throughout. There was no need for piau to raise her voice, no need to play the vulgar game of so much actually-existing opera. Indeed, her early music experience was put to spellbinding use, for, whether it be actual influence or no, there is also affinity in Debussys work with the earliest of opera. The ghosts summary or prophecy of the stile rappresentativo made their presence felt, without being forced upon. So, naturally, did the ghost of Mussorgsky.
Tristan and, perhaps still more, parsifal had, as with Puccini or Elgar (in some senses, at least, closer spirits than one might suspect no need to be hammered home. Pierre boulez was accused in 1969 of having Wagnerised Debussy at covent Garden. (What I should have given to hear that!) he quite rightly responded that there was no need, since debussys music was already wagnerised. Although no one now would doubt that, it is interesting to reflect that many, especially from a french nationalistic standpoint, did so thesis at the time. It is also a decidedly individual variety of Wagnerism, so close to wagner and yet so utterly distant from beethoven. Here, in 2014, the melos, the post-Amfortas pain, the motivic cohesion and propulsion, the turns of orchestral phrase: all reminded us where we had come from, without insisting that we were still there. Climaxes, as in Wagner, though not as in his lesser successors, were sparing and carefully marshalled but how they registered when they came!
And so, not only was the performance, aurally still more than visually, lit from behind, as Debussy so memorably claimed. Parsifal, but it seemed to emerge from Materlinck, or perhaps even from words and a simple yet deep story that somehow had always been there. That water emergence was the musical story offered by salonen and the orchestra. There is of course no one right way to perform. But the refusal to play to the gallery, in conjunction with a refusal to highlight any one particular strand or influence and a near-incredible sensitivity to the subtlest of changes, or indeed continuities, in pitch, timbre, and any other parameter you might care to mention. Line was maintained without realising: it was simply there. The drenching of the score.
which let the opera speak for itself, but which, having the characters seated in the Choir watching, walking down slowly to the stage, offered something of a frame to the action. The narration, though well delivered, seemed entirely superfluous and would have been better off cut. That really is my one and only cavil. Esa-pekka salonen led the Philharmonia in a performance as fine as anything I have heard from him and/or the orchestra. Like debussys score itself, it drew one in to listen, rejecting operatic gesture for symbolist drama. (Is that, perhaps why we find it so difficult to stage the work, finding ourselves so remote from æsthetic tenets from which it is far from readily sundered?) Debussys words from his 1902 pourquoi jai écrit. Pelléas, might almost have been written as a review of what we heard: The drama. Pelléas, which, in spite of its dream-like atmosphere, contains far more humanity than so-called real-life documents, seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity could be extended into music and into the décor orchestral.
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What other treasures might be lurking in the canadian archives? (April 2007) (next dvd video review). Debussy, personal pelléas et Mélisande : Soloists, Philharmonia voices, Philharmonia orchestra, esa-pekka salonen (conductor). Royal Festival Hall, london, (MB). Mélisande sandrine piau, pelléas Stéphane degout, golaud laurent naouri. Geneviève dame felicity palmer, physician david Wilson-Johnson, arkel jérôme varnier. Yniold Chloé briot, shepherd Greg skidmore, narrator sara kestelman.
David Edwards (director this was an extraordinary performance of an extraordinary work, one which has rarely been given its due in London and which, bafflingly, our opera houses still shy away from staging. I have only seen. Pelléas et Mélisande live once before, in a performance at covent Garden superlatively conducted by sir Simon Rattle. The best that one could say about the accompanying staging was that the excellence of the performances still shone through. Here, we had a minimal staging from david Edwards, excellently lit (so important in Debussy, both physically and metaphysically!
Mireille, premiered in 1864, and understandably. Based on Mistral's poem, with a weak libretto by michel Carré, it's the story of the unfortunate young girl Mireille, in love with the poor basket-maker Vincent. Her wealthy father doesn't approve and wishes her to marry the wealthy herdsman Ourrias. The latter attempts to kill Vincent, but the witch taven (who wears a very funny fake nose) saves his life. At the end, mireille dies in Vincent's arms (the revised version of the opera has a happy ending).
Gounod's music is always pleasant but unmemorable, although a few arias are sometimes programmed. This vai video offers a radio-canada telecast of January 24, 1957, with a sterling cast headed by the husband/wife team of léopold Simoneau and pierrette Alarie (who four years earlier had recorded bizet's pearl Fishers for Philips). The entire cast is excellent, and Roland Leduc conducts the radio orchestra. The black and white photography is fine, as is the monophonic sound. Sets are what one would expect from a live telecast and there are some quite impressive (for the time) visual effects. Act ii of Debussy's Pelléas et Mélisande is seen from a telecast of March 24, 1955, of interest particularly because of suzanne danco's Mélisande. The belgian soprano specialized in this role and recorded it in its entirety with Ernest Ansermet on the podium. Audio quality for the debussy is not as good as Mireille, but those who treasure this opera won't mind.
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The operatic scenes are presented in elaborate, imaginative stagings by jean-pierre ponnelle, and it's obvious no expense was spared. Don giovanni excerpt, domingo is the don, but also is seen as Leporello. The final duet from. Carmen oddly takes place inside the arena, with Victoria vergara a vocally disappointing heroine. The 8-minute behind the scenes feature has Domingo, levine and Ponelle discussing, rather awkwardly, the concept of the film. Photography is superb, the artificially-induced surround sound ok, but this brief video is primarily for Domingo fans who want to have everything he recorded. Again we salute vai for making available historic performances. Faust, premiered in 1859, quickly became one of the most popular operas of all time. Such was not the fate.
with the dream duo netrebko/Villazón. Excitement mounts as the program proceeds from one treasure to another, and the encores include villazón's tremendously virile. La danza, domingo singing zarzuela, and Netrebko's Musetta. The concert ends with a thrilling "Dein ist mein ganzes Herz" from. The land of Smiles, sung by all three, in which the interplay between the singers and the incredible singing! While not labelled as high definition video, it easily could be, and surround sound could not be bettered—you are right there along with the cheering crowd. This is a dvd i will return to often. The opera scenes in Plácido domingo's tribute to his beloved seville were filmed in that city in December 1981, his commentaries in July 1991.
Vai video international dvd video 4380 TT: 90 min. "The berlin Concert" is an absolute knock-out. Here we have three of today's major singers, all at the top of their form, incredibly responsive drinking to each other, all having a fabulous time, as did the audience. This concert was given in the. Waldbühne, july 7, 2006, an outdoor amphitheater in western Berlin, with a capacity of about 20,000. Tasteful amplification and large-screen TVs to permit the entire audience to hear and see the performers. Plácido domingo and Rolando villazón are casually dressed, Anna netrebko ravishingly beautiful in varied costumes.
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"the review berlin concert music from, nabucco, otello, la traviata, l'arlesiana, cavalleria rusticana, gianni Schicchi, la bohème, le mage, carmen, les Pecheurs de perles, semiramide, giuditta, west Side Story, das Land des Lächens ; music of Grever, de curtis, rendine and Sorozabál. Plácido domingo and Rolando villazón, tenors; Anna netrebko, soprano; Berlin Opera Orch/Marco Armilato, cond. Deutsche grammophon dvd video tt: 110 min. Buy now from amazon, plácido domingo, hommagevilla. Scenes from, don giovanni, carmen, fidelio, the barber of seville, la forza del destino and, el Gato montés, plácido domingo, tenor; Virginia alonso, soprano; Victoria vergara, mezzo-soprano; vienna Philharmonic Orch/James levine, cond. Deutsche grammophon dvd video tt: 60 min. Buy now from amazon, gounod: Mireille (abridged pierrette Alarie(Mireille léopold Simoneau (Vincent robert savoie (Ourrias fernande Chiocchio (taven yolande dulude (Vincenette denis Harbour (Ramon joseph rouleau (Ambroise radio canada Orch/Roland Leduc, cond. Debussy: Pelléas et Mélisande (Act ii suzanne danco, soprano; jean-paul jeannotte (Pelléas robert savoie (Golaud radio canada Orch/Jean beaudet, cond. Buy now from amazon.