17/10/2009

110) Charles Gounod Mireille




Synopsis

The action takes place in 19th century Provence.

Act 1: A mulberry grove on Midsummer night (Fête de la Saint-Jean).
Girls sing as they pick the leaves to feed to silkworms. Taven, an old woman who lives in nearby caves, joins them and comments on their jollity, but they laugh at "the witch" and Clemence voices her wish for a rich husband. Mireille however wants to marry for love, even if her husband be poor and shy, but is teased by the other girls who know that she has set her heart on a poor basket-weaver, Vincent. Taven shares her forebodings with Mireille. Vincent passes by and Mireille gets him to confess his love. As they part, they swear to meet in the church of Saintes-Maries-de-la-Mer if anything befalls one of them. The girls are heard singing the opening chorus in the distance.

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.









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109) Hector Berlioz La Damnation de Faust










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108) Johann Strauss II Eine Nacht in Venedig




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







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107) Nicolai Gedda in recital in Zurich, 1998 - live performance




Recital in Zurich on 21 December 1998

Henri Duparc:
L'invitation au voyage
Le manoir de Rosemonde
Extase
Chanson triste
Phidylé

Edvard Grieg:
Verborgene liebe
Ich liebe dich
Ein schwan
Dem lenz soll mein lied erklingen
Ein traum

Pjotr Iljič Čajkovski:
O du mondhelle nacht
Inmitten des balles
Legende
Serenade des Don Juan

Sergej Rahmaninov:
O singe nicht für mich
Was ist dieses schmertz
In the silence of the night
Christus ist auferstanden
Frühlingsfluten

Encores:
Kalman, O Bayadere
Grečaninov, Russian lullaby



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106) Pjotr Iljič Čajkovski Iolanta - live performance



Live performance from Salle Pleyel in Paris, December 1984

Synopsis
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!



Iolanta - Galina Višnjevskaja
René - Dimiter Petkov
Vaudemont - Nicolai Gedda
Ibn-Hakia - Tom Krause
Robert - Walton Grönroos
Almeric - James Anderson
Bertrand - Fernand Dumont
Martha - Viorica Cortez
Brigitta - Tania Gedda
Laura - Colleen Gaetano


Conductor - Mstislav Rostropovič
Orchestra - Orchestre de Paris
Chorus - Groupe vocale de France








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105) Gustave Charpentier Louise




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







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104) Franz Lehar Die Lustige Witwe



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







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103) Franz Lehar Die Lustige Witwe



Recorded in London, July 1962









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102) Franz Lehar Die Lustige Witwe (highlights)



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.








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101) Edward Elgar The Dream of Gerontius



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.







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