Faust Recordings
Ian Graham
On looking at what is available it seems to be a choice between
Sutherland/Corelli/Ghiaurov or delosAngeles/Gedda/Christoff.
I am a great fan of Sutherland but my previous encounter with Corelli in
French opera (Romeo) was less than happy.
Anyone want to offer any help?
IG
--
Ian Graham mailto:i...@robinsg.demon.co.uk
b-n-dpatters
Angeles/Gedda/Christoff, either the earlier mono version or the stereo.
More music on the Sutherland, though.
Ian Graham <i...@robinsg.demon.co.uk> wrote in article
<9BqEaAAV...@robinsg.demon.co.uk>...
Joe Caporiccio
hear that alagna and Gheorgiu will ve recording this soon.
b-n-dpatters
Joe Caporiccio <joe...@earthlink.net> wrote in article
<36E859...@earthlink.net>...
>
> Better than either is the Sutder - Leech - Van Dam recording - I also
> hear that alagna and Gheorgiu will ve recording this soon.
>
>
I agree, actually. I have only one complaint about the recording - the
traditional high notes are not done, and while I can live without the
soprano's high C at the end of the Garden Scene, ending the Final Trio down
rather than up just pisses me off. Otherwise, the
Studer/Leech/VanDam/Plasson is probably the best recording. I must confess
a fondness for the old Beecham set with Geori Boue and Roger Rico - not
great voices, perhaps, but great singing and great style.
Preferred Customer
Leech's current work, I can assure you that this bears little resemblance to
his current, blowsy state of voice.
olear...@hotmail.com
record is the Bonynge Faust with Sutherland, Corelli & Ghiaurov. Corelli
absolutely murders the French, but he's so enthusiastic that I have to
forgive him. Bonynge's conducting is so dazzlingly theatrical that I'm just
swept away. I'm a great Sutherland fan, and while I don't think this is her
greatest recording, I enjoy it nevertheless. And Ghiaurov's silky, sneering,
cynical performance is a knockout.
I also have the De los Angeles recording, and it's lovely, though while it's
probably truer to the "French" style, I find it pallid after the Bonynge
version.
Just my opinion.
J
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GRNDPADAVE
Ghiaurov / Allen. conducted by Prêtre.
-
Domingo manages the "Salut demeure" quite well -- including a gleaming high
"C". His voice has a beautiful throb and I find him closest to Caruso in
timbre in this particular role.
-
The sound is excellent so one an savor Gounod's superb and sensuous
orchestration. Freni is in excellent voice, although not up to De los Angeles
in allure.
-
An excellent, but difficult-to-come-by recording, is one on MYTO that
features Bjoerling, Soederstroem, Siepi and Merrill, conducted by Jean Morel
(Metropolitan Opera, 1959).
-
==G/P Dave
Enrique Eskenazi
<i...@robinsg.demon.co.uk> wrote:
>I am looking for a recording of Gounod's Faust.
>
>On looking at what is available it seems to be a choice between
>Sutherland/Corelli/Ghiaurov or delosAngeles/Gedda/Christoff.
>
>I am a great fan of Sutherland but my previous encounter with Corelli
in
>French opera (Romeo) was less than happy.
>
>Anyone want to offer any help?
I prefer live performances to studio. If that is also your case, the
Kraus/Freni/Ghiaurov/Pretre (1980) has been issued on Myto.
The 1949's Met performance with Di Stefano, Kirsten, Warren and Tajo
conducted by Pelletier (available on Arkadia)
The 1940's Met with Crooks, Jepson, Warren and Pinza, cond. also by
Pelletier (Naxos Historical)
Regards
---
Enrique
eske...@mail.sendanet.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
wk...@juno.com
"Enrique Eskenazi" <eske...@mail.sendanet.es> wrote:
> I prefer live performances to studio. If that is also your case, the
> Kraus/Freni/Ghiaurov/Pretre (1980) has been issued on Myto.
And it sounds as though it was probably a very fine performance.
Unfortunately, the singers are only barely audible throughout.
Bill
William D. Kasimer
wk...@juno.com
Enrique Eskenazi
>In article <7cbden$2mr$2...@diana.bcn.ttd.net>,
> "Enrique Eskenazi" <eske...@mail.sendanet.es> wrote:
>
>> I prefer live performances to studio. If that is also your case, the
>> Kraus/Freni/Ghiaurov/Pretre (1980) has been issued on Myto.
>
>And it sounds as though it was probably a very fine performance.
>Unfortunately, the singers are only barely audible throughout.
I don't know on the Myto release, but on the video I've got of one of
those Chicago performances they sound very good (specially Kraus and
Freni)...
Best
David Shengold
----------
In article <7cajq1$qmv$1...@nnrp1.dejanews.com>, olear...@hotmail.com wrote:
>At the risk of getting jumped on, I have to say that one of my great loves on
>record is the Bonynge Faust with Sutherland, Corelli & Ghiaurov. Corelli
>absolutely murders the French, but he's so enthusiastic that I have to
>forgive him. Bonynge's conducting is so dazzlingly theatrical that I'm just
>swept away. I'm a great Sutherland fan, and while I don't think this is her
>greatest recording, I enjoy it nevertheless. And Ghiaurov's silky, sneering,
>cynical performance is a knockout.
If London records had had any guts, it would have given us Alain Vanzo as
Faust in this performance, and perhaps Pilou or Maliponte as Marguerite. And
a different conductor. And Ghiaurov some lessons in French style. As it is
Robert Massard as Valentin is to me the only fully admirable thing in it.
As people are reaching back to Crooks and Jepson, what about the wonderfully
Gallic 1931 FAUST with the absolutely thrilling César Vezzani as Faust and
the aged but authoritative bass Marcel Journet? Louis Musy is fine as
Valentin and the Marguerite of Mireille Berthon, if the weak link, is
acceptable and at times better than that. This is certainly the most
*verbally* enjoyable FAUST on disc. Asd to which of its many pressings is
best, perhaps someone else can help?
-David Shengold
william d. kasimer
> As people are reaching back to Crooks and Jepson, what about the wonderfully
> Gallic 1931 FAUST with the absolutely thrilling César Vezzani as Faust and
> the aged but authoritative bass Marcel Journet?
I'm a bit less enthusiastic about this one; the only singer I really
enjoy is Vezzani. It's hard for me to put my finger on exactly why
I'm less fond of Journet. The voice is still in remarkable shape
for someone past 60; as I recall, though, I found the delivery
rather deadpan. But it's been a couple of years, so I think that
I'll go back to this one.
> Louis Musy is fine as
> Valentin and the Marguerite of Mireille Berthon, if the weak link, is
> acceptable and at times better than that. This is certainly the most
> *verbally* enjoyable FAUST on disc.
There's competition from Alarie/Simoneau/Rehfuss, though.
> Asd to which of its many pressings is
> best, perhaps someone else can help?
No contest - the Pearl edition is transferred by Marston.
Bill
--
William D. Kasimer
wk...@mindspring.com
wk...@juno.com
Mike Richter
Enrique Eskenazi wrote:
> I prefer live performances to studio. If that is also your case, the
> Kraus/Freni/Ghiaurov/Pretre (1980) has been issued on Myto.
That was originally a telecast (from Chicago) and is one of those
which cries for commercial release. Its absence is unforgivable,
IMHO. The only commercial Faust I know is from Paris, an odd
production and (in spite of Gedda) not recommended musically. Even
Freni is not up to the standard of the Chicago.
> The 1949's Met performance with Di Stefano, Kirsten, Warren and Tajo
> conducted by Pelletier (available on Arkadia)
Superb in many ways, not least for evidence of the glory that di
Stefano was for a brief period.
> The 1940's Met with Crooks, Jepson, Warren and Pinza, cond. also by
> Pelletier (Naxos Historical)
Lovely interpretively, but rather neutral in much of the singing. (I
prefer more passion in Faust.)
Mike
mric...@mindspring.com
http://mrichter.simplenet.com
CD-R http://resource.simplenet.com
Lindoro
>
> >I am looking for a recording of Gounod's Faust.
> >
> >On looking at what is available it seems to be a choice between
> >Sutherland/Corelli/Ghiaurov or delosAngeles/Gedda/Christoff.
Tough call. If the Bonynge/London recording had had a real Faust, it
would be my first choice (even if Sutherland isn't at her best here).
But not only is Corelli miscast and ill-at-ease with French, but this
recording shows this often exciting artist at his worst: musically
sloppy and unbeautiful in sound, with only those goddamn "ringing"
noises to satisfy his fans. (I must admit I'm no Corelli admirer, so
take my comments with several grains of salt.)
This leaves the Cluytens/Los Angeles/Gedda (the mono and stereo
versions are almost exactly the same, so might as well go for the stereo
version) as the better choice, though Christoff hams it up appallingly.
In some ways, the recent Plasson set is a better choice than either of
these: it's more complete than the Cluytens, and Cheryl Studer and
Richard Leech, while not exactly of historic stature, perform well; it's
a little sad to experience the promising performances of singers who
didn't live up to their promise (this is 1991, when Studer was only just
starting her disastrous move toward the Italian repertory), but with
Plasson's solid leadership, this is as good a FAUST as any of the
commercial recordings--which isn't saying much, as FAUST has never been
very lucky in that respect.
On that basis, you might consider looking into some of the "pirated"
live recordings--but a warning. Some of these recordings suffer from
inadequate sound and/or bad microphone placing, rendering many
orchestral and ensemble details inaudible, and doing scant justice to
Gounod's orchestration. Most of them are cut. And some of them contain
errors or vocal subterfuge that are par for the course in a performance
but that become horribly annoying on repeated listening. I happen to
think that when these drawbacks are present, the composer is badly
served by the recording. But, on the other hand, some pirate or
broadcast recordings offer relatively good sound. So if you're game for
it, search among them--but don't just buy a pirate recording on the
basis of who's singing in it, or even how famous that particular
performance is. Caveat emptor; try to listen before you buy.
Oh, where was I?...OK. Given my preference for commercial recordings
(whether live or studio), I'd direct you to the Plasson, or, if you
can't stand Studer, to the Cluytens. EMI plans to record FAUST with the
Alagnas, but as a decided non-fan of this pair, I shouldn't think it
would be worth waiting for.
GRNDPADAVE
form -- as were Mirella Freni and Thomas Allen. Ghiaurov is better in the
London recording, but is still one of the better Mephistos on this one. Pretre
is livelier than usual.
==G/P Dave
Gizmatroid
radio-broadcast sound, dark serious conducting, and singers who know French
diction and style! And it only cost me 33 bucks!
Hornymd590
Ramey. If only for the pianissimo high C that Hadley sings at the end of
"Salut...", you must listen to this set.
TomKauf2
Vezzani. Now, to my horror, I realize that my only remaining Faust is the
Domingo--which I must have gotten at some ridiculously low sales price.
I am thinking of either getting the Leech, waiting for the Alagna, or getting
the Corelli again.
My only two real considerations in making the choice are the tenor (provided
every body else is reasonably good)--ND, ESPECIALLY COMPLETERNESS. I do realize
that it is too much to hope that one of the recordings includes the cabaletta
to Salut demeure, actually set by Gounod, but never performed.
Still, does anybody know which is the most complete version? I somehow remember
that it's the Leech.
Thanks
Tom
Enrique Eskenazi
gizma...@aol.com (Gizmatroid) wrote:
Could you please mention the rest of the cast and the conductor?
Thanks
Lindoro
This one is neither as bad as many people say, nor as good as the
Penguin Guide people think it is. Gasdia, I get the impression, is one
of the most frequently scorned singers on the planet, but she's a rather
good Marguerite--far better here than she has been in the bel canto
repertoire.
I recall that this set was originally slated to be conducted by Charles
Mackerras, who was replaced by Carlo Rizzi, his successor at the Welsh
Opera. I suspect that with Mackerras, or at least a stronger conductor
than Rizzi, this set might have turned out better than it did. As it is,
despite its virtues, it's the proverbial mixed bag.d
Lindoro
> I am thinking of either getting the Leech, waiting for the Alagna, or getting
> the Corelli again.
>
> My only two real considerations in making the choice are the tenor (provided
> every body else is reasonably good)--ND, ESPECIALLY COMPLETERNESS.
Then get the Plasson/Richard Leech/Cheryl Studer version; it's
complete, and Leech is a far better Faust than Corelli. It also includes
a couple of cut items as an appendix, but I can't, offhand, remember
which ones.
I recall you saying you liked the Heppner HERODIADE, and this one has
many of the same people (Plasson, Studer, Hampson, Van Dam).
Mike Richter
an informal CD-ROM with fascinating if non-standard versions of two
operas. The Fausts would include the 1909 German, 1918 Italian, 1948
Russian as well as the English; then I'd probably add half a dozen
Normas, including one from Arkansas in English. It would be filled
out with the past year at my WWW site.
Any interest? It will be some time before it can be done and I'll
need help (in the form of sources) for some of those not named here.
Cfehlandt
>to Salut demeure, actually set by Gounod, but never performed.
>
>
Tom--Has this cabaletta has ever been recorded?
Carl F.
Matthew B. Tepper
pondered what I'm pondering as follows...
>
>If I can get hold of the Beecham acoustic set, I'm thinking of doing
>an informal CD-ROM with fascinating if non-standard versions of two
>operas. The Fausts would include the 1909 German, 1918 Italian, 1948
>Russian as well as the English; then I'd probably add half a dozen
>Normas, including one from Arkansas in English. It would be filled
>out with the past year at my WWW site.
>
>Any interest? It will be some time before it can be done and I'll
>need help (in the form of sources) for some of those not named here.
Yes!
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
And my science fiction club's home page --- http://www.lasfs.org/
To write to me, do for my address what Androcles did for the lion
b-n-dpatters
Mike Richter <mric...@mindspring.com> wrote in article
<36EC0EB8...@mindspring.com>...
> If I can get hold of the Beecham acoustic set, I'm thinking of doing
> an informal CD-ROM with fascinating if non-standard versions of two
> operas. The Fausts would include the 1909 German, 1918 Italian, 1948
> Russian as well as the English; then I'd probably add half a dozen
> Normas, including one from Arkansas in English. >
> Any interest? It will be some time before it can be done and I'll
> need help (in the form of sources) for some of those not named here.
I think it sounds like a terrific idea (but do you have any other kind?),
especially since those are two of my favorite operas. One of the earliest
opera recordings I heard was a library copy of the electric Beecham, which
I dearly loved but haven't heard in years. Geori Boue and Roger Rico were
in it. I have only heard highlights of his English Faust, however. I
remember being puzzled by the old German set but can't remember why just at
the moment. I've never heard a non-Italian Norma, other than German
versions of some of the arias.
Dan Patterson
Joe Caporiccio
>
> I just bought the Simoneau recording on VAI, and boy am I having fun! Decent
> radio-broadcast sound, dark serious conducting, and singers who know French
> diction and style! And it only cost me 33 bucks!
monochromatic, Alaria even more one note - a geriatric chorus and even
more geriatric conducting (to quote a review about another conductor -
he conductsw like an octogenarian in need of a physic) a terrible
Velentin -and the voices three times louder than the orchestra - hardly
a recommendation here.
william d. kasimer
> Funny,I just bought this recording last week - simoneau beautiful but
> monochromatic, Alaria even more one note -
This is pretty entertaining commentary, coming from someone who's
eagerly awaiting a recording with Gheorghiu and Alagna.
Joe Caporiccio
Sorry, but I think the Algans are wonderful performers especially in
Frnch Opera - I cannot wait for their upcoming release of Werther. They
are recording Manon this month in Monte Carlo. Faust is a possibility
for this summer.
planet...@uswest.net
mric...@mindspring.com wrote:
> If I can get hold of the Beecham acoustic set, I'm thinking of doing
> an informal CD-ROM with fascinating if non-standard versions of two
> operas. The Fausts would include the 1909 German, 1918 Italian, 1948
> Russian as well as the English; then I'd probably add half a dozen
> out with the past year at my WWW site.
>
> need help (in the form of sources) for some of those not named here.
>
Henson Keys
;
>Sorry, but I think the Algans are wonderful performers especially in
>Frnch Opera - I cannot wait for their upcoming release of Werther. They
>are recording Manon this month in Monte Carlo. Faust is a possibility
>for this summer.
>
too like their work in the French repertoire...the MANON duet on their
first CD is very nice, though not nearly as passionate or exciting as
the Scotto/Domingo.
planet...@uswest.net
Ian Graham <i...@robinsg.demon.co.uk> wrote:
> I am looking for a recording of Gounod's Faust.
>
> On looking at what is available it seems to be a choice between
> Sutherland/Corelli/Ghiaurov or delosAngeles/Gedda/Christoff.
>
> French opera (Romeo) was less than happy.
>
> Anyone want to offer any help?
>
> --
> Ian Graham mailto:i...@robinsg.demon.co.uk
> Don't know how much help this will be, but here are the opinions of a fierce
Faust partisan. Surprised me so many recommendations in this thread were
based on the tenor, who does have some lovel music to sing, who really
doesn't have more than a carboard character one the anger and bitterness of
the prolog is over. Gounod took so much flack for "trivializing" Goethe, but
it seems to me he manipulated the play into an ideal situation for an opera
and Marguerite's situation should be taken on its own dramatic merits.
Except for the racial and other country issue, she is in the same pickle as
Cio-Cio-San, so Faust should be as satisfying in that respect as Butterfly.
(Admittedly, it would take some doing to trivialize John Luther Long or
Belasco.)
The title role is so problematical to cast. Spintos rarely have the ability
to melt you in the Garden Scene, while lyrics rarely have the power to
satisfy in the Duel scene and final trio. I've found the best compromises
taping broadcasts of this opera, but without knowing more about your taste,
that opens up too wide a field for recommendations. My own preference,
sticking to studio recordings, is Hadley, who makes a good stab at the angst
of the prolog, which Shicoff on broadcast excelled but was less than
enchanting in the garden. Hadley is very tender there amongst the flowers.
Domingo has the heft needed for parts of the role, but his prolog rivals
Sutherland for mooniness, with a dreamy, rather than exciting, "A moi, les
plaisirs>" It's an interpretation, but not one I prefer. Leech as the
notes, but having heard him both in the studio and in the house, I find the
subtext of everything he sings is a hearty "How 'bout them Broncos!" Not the
sensibility I'm looking for. I'm assuming, since no one mentioned Aragall
and Caballe, that that recording is best forgotten and I agree. He is just
okay, she is allowed to indulge her preference for slow speeds often to a
grotesque degree. Simoneau, is as usual, a paragon of elegance, but to me,
woefully underpowered in this role--in fact that entire recording is rather
feebly cast all the way around and the acoustic is cold and small.
As for Marguerite, Gasdia with Hadley is okay. No trill and the same droopy
interpretation eveone else seems to subscribe to, but she has some winsome
moments, even some moving ones. Freni, in my experience (and I am usually
something other than her fan) is the only soprano in modern recording to get
the point of Church Scene. It seems to me the key to Marguerite is her
obsessiveness. Pre-Faust, piety forms her life nicely, then he shows up and
supercedes the importance of her God to her. Now obsessed with Faust, she is
horrified to find she can't pray with her previous intensity, but most
sopranos see this music as an opportunity to soar triumphantly. Freni
projects a state of swimming in glue, the words (not the notes, however)
sticking in her throat and something dragging her down as she tries, but just
can't care enough about God enough because all she can think about is Faust
isn't here. I think it's a remarkable achievement, and it certainly ups the
ante for the later drama of the final trio, where (if the soprano is singing
it right), you can hear exactly when Faust's spell on her is broken and she
reconnects to her God. (In the start of the second verse of Anges pur, even
if she is not aware that she's home free by that time, we are.)
Back to the Hadley recording. Rizzi offers a graceful Kermess (inexplicably
to me hard to find), and Agache would be my modern Valentin of choice.
Hampson singing is lovely too, but underpowered for such a redneck, male
chauvinist bigot character. All the modern studio Mephistopheles are too
gruff for me. My bias is toward the cheeky, nonchalant elegance of Ramey,
only on pirate (why?), and Journet on vintage recording which may throw him
out of the race for you.
My computer is acting up. I'm going to close this now and try to send some
final thoughts separately.
planet...@uswest.net
Ian Graham <i...@robinsg.demon.co.uk> wrote:
> I am looking for a recording of Gounod's Faust.
>
> On looking at what is available it seems to be a choice between
> Sutherland/Corelli/Ghiaurov or delosAngeles/Gedda/Christoff.
>
> I am a great fan of Sutherland but my previous encounter with Corelli in
> French opera (Romeo) was less than happy.
>
> Anyone want to offer any help?
>
> IG
> --
> Ian Graham mailto:i...@robinsg.demon.co.uk
either. I think Kiri is droopy but lovely here, don't like that they opted
for an earlier, simpler version of the end of the trio, and am too allergic
to Araiza's voice to offer an objective opinion on this one.
There ARE wonderful bits and pieces of Faust out there if you can tolerate the
scratch of old recordings and if you're not insistent on "French style," which
I rarely find dramatically convincing. (Chacun a son gout.) Chaliapin's
Mephistopheles may be heretical but is too towering a performance to dismiss
except by the purest of purists. Despite the German language, I find
Seinemeyer's Prison Scene renders all other studio recordings limp. It is
vintage, but they took the time to do it right and the entire scene at that.
The impact stands with the best of live recordings.
I would also mention, especially to Mike Richter if you are reading, if you
plan to include odd bits of Faust and not just complete recordings ofn your
CD- Rom, a Garden Scene that to me is revelatory. It's in Italian, the
soprano is not memorable, but the Faust, a singer I find unenjoyable in all
else, molds and caresses and brings out so much in this music in a way that
seems to me miraclous and that is de Lucia. This may be hard to believe for
some of you, but don't take my word for it. See if you can track it down in
your library at least (haven't found this anywhere on CD), and hear for
yourself. Utterly amazing. For Valentin's aria, Tibbett for his
perspective, freedom and richness, takes the palm.
Does this help or worsen the Faust hunt?
Ian Graham
<joe...@earthlink.net> writes
>Sorry, but I think the Algans are wonderful performers especially in
>Frnch Opera - I cannot wait for their upcoming release of Werther. They
>are recording Manon this month in Monte Carlo. Faust is a possibility
>for this summer.
>
et Juliette is now the definitive recording of that work?
dtritter
surely ... definitive ... ?
well, so much for operatic history.
did somebody say that tommie is back?
dft
David Shengold
They are better in French opera than trying to sing Otello and Desdemona,
but idiomatic as his French is it is pretty uninflected. I wonder if Alagna
even knows who Léopold Simoneau is.
For me the best ROMEO ET JULIETTE on records is with Alain Vanzo and Andrée
Esposito. In fact if I am not mistaken there are two such- a 1975 live set
from Nice and a radio performance from 1964 or so.
Transfers, please!
David Shengold
----------
In article <sfygdOAy...@robinsg.demon.co.uk>, Ian Graham
wk...@juno.com
planet...@uswest.net wrote:
> All the modern studio Mephistopheles are too
> gruff for me.
Even van Dam?
? My bias is toward the cheeky, nonchalant elegance of Ramey,
> only on pirate (why?),
Ramey is on the Teldec recording with Rizzi, Gasdia, and Hadley. IMO, Ramey
is the sole reason to hear that set.
Thanks for the comments.
William D. Kasimer
wk...@juno.com
David Shengold
What I am saying is that they are NOT yet on CD, although bits of the radio
performance are. Somewhere there is the Act IV duet; and the entire Act V is
filler on the Vanzo/Micheau/Bacquier; Rosenthal PECHEURS DE PERLES on Gala.
Worth the price of the set. Mlle. Esposito seems on the evidence of this and
the Mireille to have been a very fine artist.
David Shengold
----------
In article <36EF5B78...@erols.com>, Kolya <bb...@erols.com> wrote:
>
>> >For me the best ROMEO ET JULIETTE on records is with Alain Vanzo and Andr=E9e
>> >Esposito. In fact if I am not mistaken there are two such- a 1975 live set
>> >from Nice and a radio performance from 1964 or so.
>> >Transfers, please!
>> >
>> >David Shengold
>>
>> What label are these on? I only know of the Bella Voce and I didn't think that
>> was live.
>
>I'm curious, too re. the 1964 Vanzo performance. I have the 1966 Romeo with Vanzo
>and Erna Spoorenberg--from Amsterdam, apparently a radio broadcast (Fournet
>conducting).
Edward A. Cowan
> I would also mention, especially to Mike Richter if you are reading, if you
> plan to include odd bits of Faust and not just complete recordings ofn your
> CD- Rom, a Garden Scene that to me is revelatory. It's in Italian, the
> soprano is not memorable, but the Faust, a singer I find unenjoyable in all
> else, molds and caresses and brings out so much in this music in a way that
> seems to me miraclous and that is de Lucia. This may be hard to believe for
> some of you, but don't take my word for it. See if you can track it down in
> your library at least (haven't found this anywhere on CD), and hear for
> yourself. Utterly amazing.
Not the entire Garden Scene, but De Lucia's "Salut! demeure" (rec. 1906)
and the duet "Il se fait tard" (rec. 1904), both in Italian, the latter
with Celestina Boninsegna, are on the second CD of: Fernando De Lucia,
Operatic Recordings 1902-21, Pearl GEMM CDS 9071 (three CDs). Be advised
that these transfers, by Dr. Michael E. Henstock, are often considerably
transposed downwards, conforming with Dr. Henstock's belief that De
Lucia often transposed downwards, sometimes by a whole tone or more (!)
from score pitch. Thus, the booklet advises, by a system of asterisks
(one asterisk * per semitone downwards), that "Salut! demeure" is
transposed downwards a whole tone and the duet down by a half-tone. Dr.
Henstock's ideas are set forth in the lengthy article that comes in the
booklet with the CDs. Be prepared to read with a magnifying glass...
--E.A.C.
Enrique Eskenazi
luci...@aol.com (LuciaMim) wrote:
>>The Bjorling/Sayao is a memorable performance. I prefer not to use the
>>'BEST' expression, but it surely is amongst the greatest.
>
>Where can one get this? I would love it, but Tower and a couple of
other
>places tell me it's out of print and no longer available.
>
It's on Myto and it's available at
http://www.everycd.com
planet...@uswest.net
everyone, William. The history of Faust recordings makes me cranky, but
that's no excuse. However, Ramey on Teldec probably slipped my mind because
I don't find his performance there quite as effective as on pirates--could be
the rest of the cast, the studio conditions, but I also find him easily the
best Mephistopheles of the studio variety.
Also correct, I don't find Van Dam one of the gruff ones... not exactly.
His diction and attack are too clean, but neither does he sound as lean and
mean and steady as he did on the earlier Hoffman recording (where I first
found him kind of a hole interpretatively, but after a few years began to
appreciate the subtlety of his approach as well as the grace of his singing.)
Mephistopheles does not sound like a role Van Dam loves. The Church Scene
begins weakly, then he seems to tack on some gruff phrases, not impressive.
Veau d'Or seems very uncomfortable for him, at least it doesn't have the
characteristic smoothness I associate with him. Likewise the Serenade, which
DOES have the sarcasm and cheekiness I want, and he IS good at sarcasm, but
he's usually too dignified a singer to indulge in cheekiness and there's
another way you could put that.
The expert vocalism of Studer and Hampson (even though I think he's overparted
among other things here) aside, I just don't find this version making any
passionate case for Faust. Rizzi's isn't exactly a towering version either,
but I find it significantly more involving.
case for Faust.
Ed Rosen
<eske...@mail.sendanet.es> writes:
>
>In article <19990317023014...@ng-cd1.aol.com>,
>luci...@aol.com (LuciaMim) wrote:
>
>>>The Bjorling/Sayao is a memorable performance. I prefer not to use
the
>>>'BEST' expression, but it surely is amongst the greatest.
>>
>>Where can one get this? I would love it, but Tower and a couple of
>other
>>places tell me it's out of print and no longer available.
>>
>It's on Myto and it's available at
>http://www.everycd.com
>---
I believe you're talking about Romeo- right? From the heading, it
would appear there is a Sayao/Bjoerling Faust! That would be
extraordinary, since they never did it together. I don't believe she
ever sang the role, but I could be wrong. I do know that she recorded
the big arias, the Roi of Thule and the Jewel Song.
Best,
Ed
LuciaMim
Date: Wed, Mar 17, 1999 23:36 EST
Message-id: <7cpvsg$k...@dfw-ixnews10.ix.netcom.com>
You're right, Ed. I was trying to find Sayao on Faust, but found the Romeo
instead which is, allegedly, out of print. I was also interested in the
Bjoerling, Soderstrom, Siepi, Merrill Faust and that, too, is allegedly out of
print - was on Myto!
Thanks and best wishes,
Mimi
David Shengold
How have we gotten so far and not mentioned the Marguerite of Eleanor Steber
on the Met/Columbia set, about the reissue of which rumblings were made last
year? She is excellent in much of it, particularly the Church Scene and
Final Scene as I recall. A shame she has to sing the duet (one of the
highlights for me) opposite the substandard French and just OK vocalism of
Eugene Conley. Overall the set is in no way except for Steber and perhaps
Siepi anything other than a record of then-current Met routine standard.
David Shengold
DawnFatale
>I was trying to find Sayao on Faust, but found the Romeo
>instead which is, allegedly, out of print. I was also interested in the
>Bjoerling, Soderstrom, Siepi, Merrill Faust and that, too, is allegedly out
>of
>print - was on Myto!
>
I don't think these recordings are out of print. Instead, thanks to the
Metropolitan Opera's legal department, they are unavailable for sale in the US.
Try obtaining them through one of the usual European mail order places. I've
used MDT ( http://www.mdt.co.uk/ ) and MDC ( http://www.mdcmusic.co.uk/ ) with
success.
These recordings also show up at used CD stores. Some used CD stores keep
these recordings hidden away and you have to ask for them.
Rich Lynn
GRNDPADAVE
minutes is devoted to excerpts from FAUST. I think this is essential to any
lover of this opera.
-
My favorite recordings are still the Domingo / Freni / Ghiaurov / Allen --
decently conducted by Pretre and the hard-to-get MYTO of Bjoerling /
Soederstroem / Siepi / Merril -- rather well conducted by Jean Morel.
-
The Garden Scene containing "O nuit d'amour" so admired by Berlioz (how
unlikely of him to praise Gounod's music) is the high point of this opera for
me -- and this is where Domingo and Freni are superb.
-
But what gives this opera its vast superiority over ROMEO ET JULIETTE -- imho
-- is the vigorous balance offered by the character of Mephistopheles and
episodes like the Soldiers' Chorus.
-
==G/P Dave
Enrique Eskenazi
grndp...@aol.com (GRNDPADAVE) wrote:
>There is a wonderful disc of "Caruso sings French opera" of which about
46
>minutes is devoted to excerpts from FAUST. I think this is essential
to any
>lover of this opera.
Yes, yes...
>My favorite recordings are still the Domingo / Freni / Ghiaurov / Allen
--
>decently conducted by Pretre and the hard-to-get MYTO of Bjoerling /
>Soederstroem / Siepi / Merril -- rather well conducted by Jean Morel.
I prefer Crooks, Gedda or Kraus (or the young Di Stefano) to Domingo in
the role. I do insist in the Myto release of the live performance with
Kraus/Freni/Ghiaurov, Pretre conducting.
>But what gives this opera its vast superiority over ROMEO ET JULIETTE
-- imho
>-- is the vigorous balance offered by the character of Mephistopheles
and
>episodes like the Soldiers' Chorus.
I think it's a matter of taste. I wouldn't speak of "vast superiority",
in fact I do prefer Romeo et Juliette with its wonderful sequence of
love duets to Faust...
Regards
Mike Richter
GRNDPADAVE wrote:
>
> There is a wonderful disc of "Caruso sings French opera" of which about 46
> minutes is devoted to excerpts from FAUST. I think this is essential to any
> lover of this opera.
I have this on LP and agree. However, I note that its incarnation on
Nimbus Prima Voce is a good argument in favor of that transfer
technique. Many of their recordings are poor in various ways, but
7859 is admirable.
Matthew B. Tepper
>
>>
>> There is a wonderful disc of "Caruso sings French opera" of which
>> about 46 minutes is devoted to excerpts from FAUST. I think this is
>> essential to any lover of this opera.
>
>I have this on LP and agree. However, I note that its incarnation on
>Nimbus Prima Voce is a good argument in favor of that transfer
>technique. Many of their recordings are poor in various ways, but
>7859 is admirable.
>
>Mike
Wasn't there a single side (labelled "Elle ouvre sa fenêtre") from that
particular bunch of _Faust_ sessions that some people believe has Caruso
singing a single word (actually, the name "Margarita")? I've never been
successful in finding a long-playing transfer of this, though I vaguely
recall a series of green-jacketed LPs of collections of early Victors
which might have included a group of _Faust_ selections.
PLEASE don't tell me it's on that Nimbus Pseudo Voce CD!
--
Mike Richter
There is such a side and someone does sing one word, but there is no
reason to believe it was Caruso. As I recall, the side was recorded
when Caruso was not even in the U.S.
Mike
--
Enrique Eskenazi
(Matthew B. Tepper) wrote:
>
>PLEASE don't tell me it's on that Nimbus Pseudo Voce CD!
>
It's also on RCA/BMG 09026 61244 2 under the title "Caruso sings Faust
(highlights)" and apart from the Faust extracts (with Journet, Farrar,
Scotti) it also has arias from Nassebet's Le Cid and Manon, Bizet's
Carmen and Pearlfishers, Saint-Saens' Samson, Halevy's La Juive. Very
good sound
REgards
Matthew B. Tepper
>
>(Matthew B. Tepper) wrote:
>
>>PLEASE don't tell me it's on that Nimbus Pseudo Voce CD!
>>
>It's also on RCA/BMG 09026 61244 2 under the title "Caruso sings Faust
>(highlights)" and apart from the Faust extracts (with Journet, Farrar,
>Scotti) it also has arias from Nassebet's Le Cid and Manon, Bizet's
>Carmen and Pearlfishers, Saint-Saens' Samson, Halevy's La Juive. Very
>good sound
Yes, some of that bunch of _Faust_ excerpts have been reissued by RCA
and its successor-in-interest again and again and again, but NOT the
side labelled "Elle ouvre sa fenêtre," which was the whole point of my
question.