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Pelléas et Mélisande, opera in 5 acts, L. 88
Composed by Claude Debussy
Performed by Montreal Symphony Orchestra
with Gilles Cachemaille, Pierre Thau, Didier Henry, Phillip Ens, Francoise Golfier, Colette Alliot-Lugaz, Claudine Carlson
Conducted by Charles Dutoit
Editorial Reviews
Amazon.com essential recording
Among modern recordings of the opera, this one is a safe bet, assuming you want a safe version of this opera. Unlike Herbert von Karajan's oppressively string-heavy reading with the Berlin Philharmonic on EMI, this is a balanced, idiomatic account of the score, given a special luster by the Montreal Symphony Orchestra's coloristic instincts and the warm recording acoustic at St. Eustache Church. Conductor Charles Dutoit has a fine instinctive feel for Debussy in general and this score in particular. The singers in the title roles--Didier Henry and Colette Alloit-Lugaz--have both come to terms with the opera's enigmatic dramaturgy. However, it's very much a symphonic rather than operatic performance, clearly a product of the recording studio rather than of the stage. Nobody completely inhabits the score, though with Debussy, even the sparkling surface is a vehicle of dramatic truth. Thus, any well-meant performance (of which this is certainly one) can never be superficial. --David Patrick Stearns
It includes the best performances of Debussy pieces I've ever listened.
It is consistently restful and calming.
I recommend it highly.
We have a new winner in the Best Pelléas category: Karajan/BPO's studio reading from 1978. This was Karajan's third time out with Debussy's magnum opus, and the Viennese conductor with his mastery of Wagner and Schoenberg perfectly captures Debussy/Maeterlinck's Symbolist masterpiece.
Maeterlinck was and remains an unique and important poetic/literary/theatrical innovator in the categories of Symbolism and proto-Surrealism. One must appreciate just how avant-garde his work was at the Fin de Siècle. Even now his work retains its interest because of his abstraction of the human condition into a disoriented or dreamlike state. At its most basic, the interest of Pelléas et Mélisande is the human dilemma of a woman's love for a man. Maeterlinck's synthesis of connotative and denotative language distilled into elliptical phraseology continues to fascinate. He was, of course, awarded the Nobel Prize in 1911.
Till now thought Abbado/VPO's realization (sadly out of print) couldn't be surpassed Debussy - Pelléas et Mélisande / M. Ewing · Le Roux · van Dam · Courtis · Ludwig · Wiener Phil. · Abbado . And since Karajan's leave-taking, Abbado virtually ties with Boulez as Earth's greatest conductor--(even Boulez probably couldn't surpass Abbado's Wozzeck Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado ).
As for other critique, Ted Libby (on item site page) says it all.
In addition, Debussy enthusiasts will want to seek out his second greatest work Le Martyre de Saint Sébastien (complete version) Claude Debussy: Le Martyre de Saint Sébastien .
.
In the late 1990's EMI issued several ART remasterings with mixed results. Some recordings like the Callas Tosca were a complete disaster with almost all sense of the acoustic space removed (yes, even mono recordings do have a sense of natural echo and depth). However, when the Tosca -- and other recordings such as the Schwarzkopf Rosenkavalier -- were reissued as part of the Great Recordings series, the sound was transformed into a CD with both the voices and the acoustics sounding fuller and more natural.
While by no means a disaster, the sound quality of the Karajan Pelleas seems closer to the failed early ART efforts than to their more recent successes.
A few other reviewers have said better than what I otherwise might regarding the voices' properties, so let me here be short. Although I find Frederica von Stade somewhat too coquettish for Mélisande (somehow, it seems as if an American girl's forthrightness and assertiveness intrudes here too much for this character's otherworldly, timid, frighened good!) and José van Dam - although excellent indeed - still just a shadow less menacing and authoritative than George London (for Ansermet), the overall performance of everybody gels to overall perfection. [With such a performance in fact, it's too easy then to end up a nit-picker - e.g., the tubist (tuba-player) has a few false entries near the beginning of Act II Scene 3.] I particularly here like the way the other people play Geneviève, Yniold, Pelléas (though still a real tenor would be best!) and especially Arkël (Ruggero Raimondi here is a true stand-out!!!).
The true star of this recording (barring a few nits like the one mentioned above) is the Berlin Philharmonic: both in its overall ensemble AND in terms of its individual sections and soloists (notably the woodwinds - I could wish for the brass to be somewhat still more assertive in a few places although overall the whole orchestra opens up more than some people might feel comfortable with!), one sees how truly without peer it happens to be - and in French music to boot!!!! [When can we hope to see a French ensemble prove itself worthy of comparison even on their home terrain (perhaps the Paris Bastille - the way they played Shostakóvich's "Lady Macbeth" gives one a glimmer thereof...)?]
As to those who feel that Debussy was out to be anti-Wagner (thus requiring a non-Wagnerian viewpoint), I'll simply say that it was a question of cattiness (Debussy was simply not the best of men by a longshot!) and jealousy. [French composers were so intimidated by Wagner and "Wagnerism" accusations that they were desperately out to assert themselves at any cost in any way possible - not realising that his harmonic language (among other points) was there to stay and be most influential (e.g., César Franck's music - particularly that for organ - is heavily influenced that way even if it otherwise remains sparser in sound than what the Teutons produced).] Karajan is entirely right to see "Pelléas" NOT as an antithesis or antidote to Wagner but as the (to-date) culmination of what Wagner was aiming for (subject of course to the ideal of a French instead of a German overall æsthetic - and nobody was more Gallic than Debussy; the combination of Musórgskian vocal-lines + Wagner's integrated-opera construction doesn't take away from the music's Gallic character one bit {it's every bit as quintessentially French as Ravel's "Daphnis et Chloé"}!).
[A case in point is the way Debussy's leitmotifs are much more dynamic in usage and flexibility (even at times to the point of unrecognizability!) compared to those of Wagner (or even Richard Strauss), which remain static in terms of instrumental colour, rhythm, and often key! It's in this way that Debussy goes beyond Wagner while yet bringing the German's overall aims to perfection!]
I don't hesitate in recommending this set most highly in all regards (superb sound in recording terms too!) - though I'll also recommend Ansermet's Decca/London stereo recording (one of the cheapest around but most worth it nonetheless!!!) to give an alternative viewpoint of the work. [Those who can tolerate mono sound may well wish to investigate Ingelbrecht, Fournet, etc....]
Karajan manages to draw us into this singular world with total involvement. The Berlin Phil. plays with more richness and sonority than any of the French orchestras to be heard in Pelleas--let's be frank, there was never a Parisian orchestra, then or now, that could hold a candle to the Berliners. The principal singers--Stilwell, von Stade, and Van Dam--have enough dramatic weight to stand up to Karajan's all-encompassing orchestral sound, which says a lot. One could argue that Van Dam and von Stade are the greatest modern exponents of Golaud and Melisande--the young von Stade's voice is blessedly free of the fast beat that came to mar it later on. This is not to take away from Stilwell's ardent Pelleas; I particularly like the fact that his baritone inclines toward the tenor range.
In sum, if you are a lover of this enigmatic and elusive opera, Karajan's EMI set, always a good-sounding recording but now even better in its latest remastering, is a must-listen.
I'm very syrprised EMI would even consider allowing Kraajan to record ANY Debussy, even more so the very difficult score of Pelleas.
Of course all the glowing reviewers have not heard Desormiere's 1942 nor Ingelbrecht's masterpiece recordings.
Of course not.
Yet they rate Karajan a hit.
One star for attempt.
Each selection is soothing without being soporific. In fact, as relaxing as this collection is, instead of putting me to sleep it actually made me feel more alert as I listened to it, because of the excellent quality of the performances and the clarity of the recorded sound.
The only difficulty I have in evaluating this compilation is choosing a favorite selection, or even two or three favorites out of the fifteen on this disc. They're all wonderful, from the orchestral arrangements of Faure and Satie, conducted by Leonard Slatkin, to the selections of Debussy performed on harp by Yolanda Kondonassis, to Faure's Prelude and Sicilienne (from Pelleas et Melisande) conducted by one of the greatest choral conductors of the twentieth century, Robert Shaw. Five of the fifteen tracks, fully one third, are selections from works composed by Gabriel Faure (1845 - 1924), a pupil of Saint-Saens and an underappreciated composer in the United States. Hopefully, this disc will help to contribute to a better appreciation of one of the most gifted and original French 19th composers in the generation before Debussy (who actually outlived Debussy by six years).
From beginning to end, this is an excellent disc. Recommended with pleasure.
There's no real personality to anything here, as perfect as the execution is, so a decision to buy comes down to how much you desire the rare orchestral suite from Pelleas and Melisande. I keep remembering that Debussy himself wanted the music to be secondary to the libretto in his opera, going to far as to make the score a vaporous, shimmering background. So we're not talking about dramatic excerpts from the Ring here. More like snippets of gossamer that sound more or less identical. Having said that, this is the definitive modern account--Erich Leinsdorf produced a reasonable fascimile forty years ago. If you want to bathe in the empty, moonlit stage of Pelleas after the characters have left the theater, here you go.
Opening with a graceful and cohesive reading of Prelude to the Afternoon of a Faun, Abbado caresses a very 'French' sound from his orchestra and the buildup to the climax is very well paced and earthy. The flute solo is superbly played by Emmanuel Pahud, graciously given credit here.
Abbado moves on to the 'Nocturnes', offering more sweeping lyricism than these are usually afforded. The women's chorus seems to emerge form the orchestral fabric as though they truly were mermaids rising out of the sea, and the sound is seductive!
But for many who long for moments from 'Pelleas et Melisande', Debussy's opera in 5 acts without spending the time for the entire long work, Abbado here gives us orchestral excerpts from Act 1, Une foret, Act 2, Scene 1 Une fontaine dans le parc, Act 3, Scene 2 Les souterrains du chateau, Act 4, Scene 2 Un appartement dans le chýteau, and Act 5 Une chambre dans le chýteau. Purists may complain about taking the excerpts out of context, but then it is traditional to do so from Wagner's 'Ring' or Hindemith's 'Mathis der Maler', etc so there is precedent. Abbado lets the music cast its spell and for the majority of the CD we are allowed to truly become acquainted with the extraordinary orchestral writing of this masterpiece of an opera. Highly Recommended. Grady Harp, May 06
Abbado's Nocturnes are very good, too, but I've sensed something perfunctory in the interpretation every time I've listened. I wish he would have been a little more leisurely. But this is still one of the better interpretations I've heard, in terms of clarity and flow.
The Pelleas is the big item here, occupying almost half the disc. It is an orchestral suite made up of music from the opera. Debussy did not create it, and was initially opposed to putting such a thing together, though later softened his position. Some reviewers have objected to this suite, on the basis that it consists of chunks of the opera music stuck together without really fitting together. Yet the sound world of the opera is pretty much all of a piece, which means the suite, though sometimes sounding somewhat fragmented, particularly if you know the opera, still sounds properly interrelated to me, at least.
I think the Pelleas Suite is terrific, myself. The opera is fine enough, too, but, to put it bluntly, this gives me a stimulating and satisfying dose of the operatic score without having to sit through the whole thing. And it's a great score. For lovers of Debussy's orchestral music, I'd say, don't pass this up. Abbado's performance, which is live, is first-rate. (Maybe he's best in front of an audience.) So is the sound (although I must admit that the sound of the Rattle disc, referenced above, suggests that better sound for Berlin is possible.)
I'd rush out and grab this one.
Among modern recordings of the opera, this one is a safe bet, assuming you want a safe version of this opera. Unlike Herbert von Karajan's oppressively string-heavy reading with the Berlin Philharmonic on EMI, this is a balanced, idiomatic account of the score, given a special luster by the Montreal Symphony Orchestra's coloristic instincts and the warm recording acoustic at St. Eustache Church. Conductor Charles Dutoit has a fine instinctive feel for Debussy in general and this score in particular. The singers in the title roles--Didier Henry and Colette Alloit-Lugaz--have both come to terms with the opera's enigmatic dramaturgy. However, it's very much a symphonic rather than operatic performance, clearly a product of the recording studio rather than of the stage. Nobody completely inhabits the score, though with Debussy, even the sparkling surface is a vehicle of dramatic truth. Thus, any well-meant performance (of which this is certainly one) can never be superficial. --David Patrick Stearns
Debussy: Pelléas et Mélisande,Claude Debussy,Charles Dutoit,Montreal Symphony Orchestra,Claudine Carlson,Colette Alliot-Lugaz,Didier Henry,Francoise Golfier,Gilles Cachemaille,Phillip Ens,Pierre Thau,Polygram Records,Classical,Classical Music,French 20th/21st Century Opera,Opera,Opera / Operetta / Oratorio
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ASIN: B0000BWVBV Release Date: 2003-09-09 |
Tracks:
- Concerto For Harpischord, Strings, And Continuo No. 5 In F Minor, BWV 1056 - Raymond Leppard
- Concerto Grosso In B Minor, Op. 6, No. 12 - The Academy Of St Martin-In-The-Fields
- Pavane For A Dead Princess - Steve Erquiaga
- Romance For String Orchestra - The Academy Of St Martin-In-The-Fields
- Carnival Of The Animals - Pittsburgh Symphony Orchestra
- Bachianas Brasileiras No. 5 - Alexandre Lagoya
- En Bateau - l'ochestre de la suisse romande
- Humming Chorus - BBC Concert Orchestra
- Sicilienne - Steve Erquaiaga
- Italiana - The Academy Of St Martin-In-The-Fields
- Una Furtiva Lagrima - BBC Concert Orchestra
- Chanson De Matin, Op. 15, No. 2 - BBC Concert Orchestra
- Suite In E Major For Lute, BWV 1006A/1000 - Eduardo Fernandez
- Touch Her Soft Lips, And Part - Bournemouth Symphony Orchestra
- Suite for Cello Solo No. 3 In C Major, BWV 1009 - Pepe Romero
- Jesu, Joy Of Man's Desiring - Julian Lloyd Webber
- Pavane - Nicholas Kraemer
- Serenade For Strings In E Major, Op. 22 - The Academy Of St Martin-In-The-Fields
Tracks:
- O Mio Babbino Caro - BBC Concert Orchestra
- Cavatina - Goran Sollscher
- La Fileuse - L'Orchestre De La Suisse Romande
- Flower Duet (Sous Le Dome Epais) - BBC Concert Orchestra
- Pied-En-L'Air - Nicholas Kraemer
- Arioso - Steve Erquiaga
- Two Aquarelles - English Chamber Orchestra
- In Paradisum - Stephen Cleobury
- After A Dream - Steve Erquiaga
- Suite For Cello Solo No. 1 In G Major, BWV 1007 - Mischa Maisky
- My Bonny Boy - The Academy Of St Martin-In-The-Fields
- Concerto For Guitar In D Major, RV 93 - Eduardo Fernandez
- Un Bel Di - BBC Concert Orchestra
- Holbert Suite, Op. 40 - Gothenburg Symphony Orchestra
- Concerto For Oboe In D Minor, BWV 1059 - Heinz Holliger
- Vissi D'Arte - BBC Concert Orchestra
- Sheep May Safely Graze - William Bennett
- Fantasia On Greensleeves - William Bennett
Customer Reviews:
Exceptional Collection.......2003-12-31
It is consistently restful and calming.
I recommend it highly.
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For A Sunday Morning
Various Artists Manufacturer: Decca ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B00005UWL1 Release Date: 2002-01-15 |
Tracks:
- Grieg: Morning Mood
- Dvorak: Waltz From Serenade For Strings
- Faure: Pavane, Op. 50
- Bach: Air
- Holst: Finale (The Dargason) from St. Paul's Suite
- Debussy: Prelude To "The Afternoon Of A Faun"
- Faure: Sicilienne from Pelleas et Melisande
- Bach: Sleepers, Awake
- Debussy: En Bateau
- Grieg: Anitra's Dance
- Britten: Sunday Morning By The Beach
- Williams: Seventeen Come Sunday From English Folk Song Suite
- Strauss: Morning Newspapers
Customer Reviews:
I recommend it highly.......2005-10-05
Pour yourself some tea, get the paper and put on this CD.......2002-02-14
I also liked that it had a good mix of familiar songs and ones I hadn't heard before. Selections include "Morning" and "Anitra's Dance" by Grieg, "Serenade for Strings in E Major" by Dvorak, "Sunday Morning" by Britten, "Pavane" by Faure, "Seventeen Come Sunday" by Vaughan Williams, "Air on a G String" by Bach, "Morgenblatter" by Strauss, "The Dargason" by Holst, "Prelude a l'Apres-Midi d'un Faune" by Debussy, and "En Bateau" and "Sicilienne" by Faure.
Don't expect any big fireworks -- there's certainly nothing rousing like "Ride of the Valkyries" or "1812 Overture" here. Pop this in for a lazy day.
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Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan
Claude Debussy , Berliner Philharmoniker , Herbert von Karajan , Frederica von Stade , Richard Stilwell , José van Dam , Ruggero Raimondi , Nadine Denize , and Christine Barbaux Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General Modern
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ASIN: B00000K4FN Release Date: 1999-09-21 |
Tracks:
- Prelude - Berliner Philharmoniker
- Je Ne Pourrai Plus Sortir De Cette Foret - Jose Van Dam
- Qu'est-ce Qui Brille Ainsi, Au Fond De L'eau? - Jose Van Dam
- Interlude - Berliner Philharmoniker
- Voici Ce Qu'il Ecrit A Son Frere Pelleas: 'Un Soir, Je L'ai Trouvee' - Nadine Denize
- Je N'en Dis Rien - Ruggero Raimondi
- Grand-pere, J'ai Recu En Meme Temps Que La Lettre De Mon Frere - Ruggero Raimondi
- Interlude - Berliner Philharmoniker
- Il Fait Sombre Dans Les Jardins - Frederica Von Stade
- Hoe! Hisse Hoe! Hoe! Hoe! - Chor Der Deutschen Oper Berlin
- Vous Ne Savez Pas Ou Je Vous Ai Menee - Frederica Von Stade
- C'est Au Bord D'une Fontaine Aussi Qu'il Vous A Trouvee? - Frederica Von Stade
- Interlude - Berliner Philharmoniker
- Ah! Ah! Tout Va Bien, Cela Ne Sera Rien - Jose Van Dam
- Je Suis . . . Je Suis Malade Ici - Jose Van Dam
- Il Est Vrai Que Ce Chateau Est Tres Vieux Et Tres Sombre - Jose Van Dam
- Tiens, Ou Est L'anneau Que Je T'avis Donne? - Jose Van Dam
- Interlude - Berliner Philharmoniker
- Oui, C'est Ici, Nous Y Sommes - Frederica Von Stade
Tracks:
- Mes Longs Cheveux Descendent - Frederica Von Stade
- Oh! Oh! Mes Cheveux Descendent De La Tour! - Frederica Von Stade
- Je Les Noure, Je Les Noue Aux Branches Du Saule - Jose Van Dam
- Interlude - Berliner Philharmoniker
- Prenez Garde; Par Ici, Par Ici - Jose Van Dam
- Interlude - Berliner Philharmoniker
- Ah! Je Respire Enfin! - Jose Van Dam
- A Propos De Melisande - Jose Van Dam
- Interlude - Berliner Philharmoniker
- Viens, Nous Allons Nous Asseoir Ici, Yniold - Jose Van Dam
- Ah! Ah! Petite Mere A Allume Sa Lampe - Jose Van Dam
Tracks:
- Ou Vas-tu? Il Faut Que Je Te Parle Ce Soir - Frederica Von Stade
- Maintenant Que Le Pere De Pelleas Est Sauve - Ruggero Raimondi
- Pelleas Part Ce Soir - Ruggero Raimondi
- Une Grande Innocence - Ruggero Raimondi
- Interlude - Berliner Philharmoniker
- Oh! Cette Pierre Est Lourde - Christine Barbaux
- C'est Le Dernier Soir - Frederica Von Stade
- On Dirait Que Ta Voix A Passe Sur La Mer Au Printemps! - Frederica Von Stade
- Quel Est Ce Bruit? On Ferme Les Portes - Frederica Von Stade
- Ce N'est Pas De Cette Petite Blessure Qu'elle Peut Mourir - Ruggero Raimondi
- Attention; Je Crois Qu'ell S'eveille - Ruggero Raimondi
- Etes-vous Seul Dans La Chambre, Grand-pere? - Ruggero Raimondi
- Melisande, As-tu Pitie De Moi Comme J'ai Pitie De Toi? - Jose Van Dam
- As-tu Aime Pelleas? - Jose Van Dam
- Qu'avez-vous fait? Vous Allez La Tuer - Ruggero Raimondi
- Qu'y-a-t-il? Qu'est-ce Que Toutes Ces Femmes Viennent Faire Ici? - Ruggero Raimondi
- Attention . . . Attention - Ruggero Raimondi
Amazon.com essential recording
The payoff to Herbert von Karajan's relentless pursuit of ensemble perfection and beauty of sound can be heard in the playing of the Berlin Philharmonic on this recording: by 1978, when it was made, they were indisputably the most polished and flexible orchestra in Europe, and one of the few orchestras anywhere (including France) that was capable of playing French music with real authority. Fittingly, the orchestra is very much at the center of this account of Claude Debussy's uniquely beautiful opera, magnificently projecting the mysterious, darkly translucent world of its fatally entangled characters. The cast, which is led by two Americans--Richard Stilwell as Pelléas and the incomparable Frederica von Stade as Mélisande --and features a Belgian (José van Dam) as Golaud and an Italian (Ruggero Raimondi) as Arkel, is a superb one, not least because those principals who are not French are nonetheless Francophones, and sing with excellent diction and an authentic delivery. Karajan's pacing of the drama, his skill at eliciting just the right intensity from the orchestra, his surpassing gentleness with the singers (balances are superb and every word comes through clearly), and the overall beauty of the orchestral playing make this not only the finest account of Pelléas et Mélisande yet recorded, but one of the most treasurable opera recordings ever, fully worthy of EMI's Great Recordings of the Century designation. --Ted LibbeyCustomer Reviews:
The Best Pelléas..........2007-07-31
We have a new winner in the Best Pelléas category: Karajan/BPO's studio reading from 1978. This was Karajan's third time out with Debussy's magnum opus, and the Viennese conductor with his mastery of Wagner and Schoenberg perfectly captures Debussy/Maeterlinck's Symbolist masterpiece.
Maeterlinck was and remains an unique and important poetic/literary/theatrical innovator in the categories of Symbolism and proto-Surrealism. One must appreciate just how avant-garde his work was at the Fin de Siècle. Even now his work retains its interest because of his abstraction of the human condition into a disoriented or dreamlike state. At its most basic, the interest of Pelléas et Mélisande is the human dilemma of a woman's love for a man. Maeterlinck's synthesis of connotative and denotative language distilled into elliptical phraseology continues to fascinate. He was, of course, awarded the Nobel Prize in 1911.
Till now thought Abbado/VPO's realization (sadly out of print) couldn't be surpassed Debussy - Pelléas et Mélisande / M. Ewing · Le Roux · van Dam · Courtis · Ludwig · Wiener Phil. · Abbado . And since Karajan's leave-taking, Abbado virtually ties with Boulez as Earth's greatest conductor--(even Boulez probably couldn't surpass Abbado's Wozzeck Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado ).
As for other critique, Ted Libby (on item site page) says it all.
In addition, Debussy enthusiasts will want to seek out his second greatest work Le Martyre de Saint Sébastien (complete version) Claude Debussy: Le Martyre de Saint Sébastien .
.
Sound not worthy of EMI Great Recording Series.......2007-01-05
In the late 1990's EMI issued several ART remasterings with mixed results. Some recordings like the Callas Tosca were a complete disaster with almost all sense of the acoustic space removed (yes, even mono recordings do have a sense of natural echo and depth). However, when the Tosca -- and other recordings such as the Schwarzkopf Rosenkavalier -- were reissued as part of the Great Recordings series, the sound was transformed into a CD with both the voices and the acoustics sounding fuller and more natural.
While by no means a disaster, the sound quality of the Karajan Pelleas seems closer to the failed early ART efforts than to their more recent successes.
Still for me the definitive overall view of Pelléas!!!.......2006-08-07
A few other reviewers have said better than what I otherwise might regarding the voices' properties, so let me here be short. Although I find Frederica von Stade somewhat too coquettish for Mélisande (somehow, it seems as if an American girl's forthrightness and assertiveness intrudes here too much for this character's otherworldly, timid, frighened good!) and José van Dam - although excellent indeed - still just a shadow less menacing and authoritative than George London (for Ansermet), the overall performance of everybody gels to overall perfection. [With such a performance in fact, it's too easy then to end up a nit-picker - e.g., the tubist (tuba-player) has a few false entries near the beginning of Act II Scene 3.] I particularly here like the way the other people play Geneviève, Yniold, Pelléas (though still a real tenor would be best!) and especially Arkël (Ruggero Raimondi here is a true stand-out!!!).
The true star of this recording (barring a few nits like the one mentioned above) is the Berlin Philharmonic: both in its overall ensemble AND in terms of its individual sections and soloists (notably the woodwinds - I could wish for the brass to be somewhat still more assertive in a few places although overall the whole orchestra opens up more than some people might feel comfortable with!), one sees how truly without peer it happens to be - and in French music to boot!!!! [When can we hope to see a French ensemble prove itself worthy of comparison even on their home terrain (perhaps the Paris Bastille - the way they played Shostakóvich's "Lady Macbeth" gives one a glimmer thereof...)?]
As to those who feel that Debussy was out to be anti-Wagner (thus requiring a non-Wagnerian viewpoint), I'll simply say that it was a question of cattiness (Debussy was simply not the best of men by a longshot!) and jealousy. [French composers were so intimidated by Wagner and "Wagnerism" accusations that they were desperately out to assert themselves at any cost in any way possible - not realising that his harmonic language (among other points) was there to stay and be most influential (e.g., César Franck's music - particularly that for organ - is heavily influenced that way even if it otherwise remains sparser in sound than what the Teutons produced).] Karajan is entirely right to see "Pelléas" NOT as an antithesis or antidote to Wagner but as the (to-date) culmination of what Wagner was aiming for (subject of course to the ideal of a French instead of a German overall æsthetic - and nobody was more Gallic than Debussy; the combination of Musórgskian vocal-lines + Wagner's integrated-opera construction doesn't take away from the music's Gallic character one bit {it's every bit as quintessentially French as Ravel's "Daphnis et Chloé"}!).
[A case in point is the way Debussy's leitmotifs are much more dynamic in usage and flexibility (even at times to the point of unrecognizability!) compared to those of Wagner (or even Richard Strauss), which remain static in terms of instrumental colour, rhythm, and often key! It's in this way that Debussy goes beyond Wagner while yet bringing the German's overall aims to perfection!]
I don't hesitate in recommending this set most highly in all regards (superb sound in recording terms too!) - though I'll also recommend Ansermet's Decca/London stereo recording (one of the cheapest around but most worth it nonetheless!!!) to give an alternative viewpoint of the work. [Those who can tolerate mono sound may well wish to investigate Ingelbrecht, Fournet, etc....]
One of Karajan's undisputed triumphs.......2006-07-14
Karajan manages to draw us into this singular world with total involvement. The Berlin Phil. plays with more richness and sonority than any of the French orchestras to be heard in Pelleas--let's be frank, there was never a Parisian orchestra, then or now, that could hold a candle to the Berliners. The principal singers--Stilwell, von Stade, and Van Dam--have enough dramatic weight to stand up to Karajan's all-encompassing orchestral sound, which says a lot. One could argue that Van Dam and von Stade are the greatest modern exponents of Golaud and Melisande--the young von Stade's voice is blessedly free of the fast beat that came to mar it later on. This is not to take away from Stilwell's ardent Pelleas; I particularly like the fact that his baritone inclines toward the tenor range.
In sum, if you are a lover of this enigmatic and elusive opera, Karajan's EMI set, always a good-sounding recording but now even better in its latest remastering, is a must-listen.
Karajan Attempts Debussy.......2006-01-14
I'm very syrprised EMI would even consider allowing Kraajan to record ANY Debussy, even more so the very difficult score of Pelleas.
Of course all the glowing reviewers have not heard Desormiere's 1942 nor Ingelbrecht's masterpiece recordings.
Of course not.
Yet they rate Karajan a hit.
One star for attempt.
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La Belle France
Manufacturer: Telarc ProductGroup: Music Binding: Audio CD Pavanes
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ASIN: B0008191B0 Release Date: 2005-04-26 |
Tracks:
- Pavane - Saint Louis Symphony Orchestra
- Arabesque, No.1 - Yolanda Kondonassis
- Pie Jesu - Judith Blegen
- Claire De Lune - John O'Conor
- Pavane Pour Une Infante Defunte - Cincinnati Symphony Orchestra
- Allegro Moderato - Cleveland Quartet
- Gymnopedie No.1 - Saint Louis Symphony Orchestra
- Gymnopedie No.2 - Saint Louis Symphony Orchestra
- Prelude - Atlanta Symphony Orchestra
- Sicilienne - Atlanta Symphony Orchestra
- Villanelle - Elly Ameling
- La Fille Aux Cheveux De Lin - Yolanda Kondonassis
- Salut, Dame Sainte - Robert Shaw Festival Singers
- Seigneur, Je Vous En Prie - Robert Shaw Festival Singers
- Sanctus - William Preucil
Customer Reviews:
You will listen to this over and over -- and over again!.......2007-01-11
A Wonderful Soothing Compilation .......2006-04-05
Each selection is soothing without being soporific. In fact, as relaxing as this collection is, instead of putting me to sleep it actually made me feel more alert as I listened to it, because of the excellent quality of the performances and the clarity of the recorded sound.
The only difficulty I have in evaluating this compilation is choosing a favorite selection, or even two or three favorites out of the fifteen on this disc. They're all wonderful, from the orchestral arrangements of Faure and Satie, conducted by Leonard Slatkin, to the selections of Debussy performed on harp by Yolanda Kondonassis, to Faure's Prelude and Sicilienne (from Pelleas et Melisande) conducted by one of the greatest choral conductors of the twentieth century, Robert Shaw. Five of the fifteen tracks, fully one third, are selections from works composed by Gabriel Faure (1845 - 1924), a pupil of Saint-Saens and an underappreciated composer in the United States. Hopefully, this disc will help to contribute to a better appreciation of one of the most gifted and original French 19th composers in the generation before Debussy (who actually outlived Debussy by six years).
From beginning to end, this is an excellent disc. Recommended with pleasure.
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For the Hopeless Romantic
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Pavanes
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ASIN: B0006SSNA0 Release Date: 2005-01-11 |
Tracks:
- Clair de lune
- Larghetto, e piano
- Pavane pour une infante dnte
- En bateau
- Largo
- Intermezzo
- in E minor
- Clair de lune
- Mtation religieuse - Symphonie
- Rrie
- O mio Babbino caro
- Romance (Andante)
- Siciliano
- Andantino quasi Allegretto (La Fileuse)
- Sarabande (Andante)
- Variation 18 (excerpt)
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Debussy: Pelléas et Mélisande Suite
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Berlin Philharmonic Orchestra
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ASIN: B00005V8YY Release Date: 2003-02-11 |
Tracks:
- Prelude A L'apres-Midi D'un Faune - Emmanuel Pahud
- Nuages - Members Of The Rundfunkchor Berlin
- Fetes - Members Of The Rundfunkchor Berlin
- Sirenes - Members Of The Rundfunkchor Berlin
- Acte I: Une Foret - Claude Debussy
- Acte II, Scene 1: Unde Fonatine Dans Le parc - Claude Debussy
- Acte III, Scene 2: Les Souterrains Du Chateau - Acte IV, Scene 2: Un Appartement Dans Le Chateau - Claude Debussy
- Acte V: Une Chambre Dans Le Chateau - Claude Debussy
Customer Reviews:
A nice but not very necessary Debussy collection.......2006-10-19
There's no real personality to anything here, as perfect as the execution is, so a decision to buy comes down to how much you desire the rare orchestral suite from Pelleas and Melisande. I keep remembering that Debussy himself wanted the music to be secondary to the libretto in his opera, going to far as to make the score a vaporous, shimmering background. So we're not talking about dramatic excerpts from the Ring here. More like snippets of gossamer that sound more or less identical. Having said that, this is the definitive modern account--Erich Leinsdorf produced a reasonable fascimile forty years ago. If you want to bathe in the empty, moonlit stage of Pelleas after the characters have left the theater, here you go.
Alive with Magic.......2006-06-01
Opening with a graceful and cohesive reading of Prelude to the Afternoon of a Faun, Abbado caresses a very 'French' sound from his orchestra and the buildup to the climax is very well paced and earthy. The flute solo is superbly played by Emmanuel Pahud, graciously given credit here.
Abbado moves on to the 'Nocturnes', offering more sweeping lyricism than these are usually afforded. The women's chorus seems to emerge form the orchestral fabric as though they truly were mermaids rising out of the sea, and the sound is seductive!
But for many who long for moments from 'Pelleas et Melisande', Debussy's opera in 5 acts without spending the time for the entire long work, Abbado here gives us orchestral excerpts from Act 1, Une foret, Act 2, Scene 1 Une fontaine dans le parc, Act 3, Scene 2 Les souterrains du chateau, Act 4, Scene 2 Un appartement dans le chýteau, and Act 5 Une chambre dans le chýteau. Purists may complain about taking the excerpts out of context, but then it is traditional to do so from Wagner's 'Ring' or Hindemith's 'Mathis der Maler', etc so there is precedent. Abbado lets the music cast its spell and for the majority of the CD we are allowed to truly become acquainted with the extraordinary orchestral writing of this masterpiece of an opera. Highly Recommended. Grady Harp, May 06
Top notch Pelleas.......2006-01-15
Abbado's Nocturnes are very good, too, but I've sensed something perfunctory in the interpretation every time I've listened. I wish he would have been a little more leisurely. But this is still one of the better interpretations I've heard, in terms of clarity and flow.
The Pelleas is the big item here, occupying almost half the disc. It is an orchestral suite made up of music from the opera. Debussy did not create it, and was initially opposed to putting such a thing together, though later softened his position. Some reviewers have objected to this suite, on the basis that it consists of chunks of the opera music stuck together without really fitting together. Yet the sound world of the opera is pretty much all of a piece, which means the suite, though sometimes sounding somewhat fragmented, particularly if you know the opera, still sounds properly interrelated to me, at least.
I think the Pelleas Suite is terrific, myself. The opera is fine enough, too, but, to put it bluntly, this gives me a stimulating and satisfying dose of the operatic score without having to sit through the whole thing. And it's a great score. For lovers of Debussy's orchestral music, I'd say, don't pass this up. Abbado's performance, which is live, is first-rate. (Maybe he's best in front of an audience.) So is the sound (although I must admit that the sound of the Rattle disc, referenced above, suggests that better sound for Berlin is possible.)
I'd rush out and grab this one.
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More Classics for Yoga: Meditative Melodies for Relaxation
Manufacturer: Denon Records ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B0006SSPCG Release Date: 2005-01-11 |
Tracks:
- Holst: Neptune from "The Planets"
- Faure: Sicilienne from "Pelleas and Melisande"
- Debussy: Sarabande from "For the Piano"
- Schumann: Abendlied
- Sibelius: The Swan of Tuonela
- Debussy: Nocturne
- Bach: Arioso
- Vaughan-Williams: Fantasia on "Greensleeves"
- Massenet: Meditation from "Thais"
- Beethoven: Moonlight Sonata, Adagio
- Bach: Goldberg Variations, Aria
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For a Day in Your Life
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Waltzes
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