Alain vanzo gabriel bacquier biography

Georges Bizet’s Les pêcheurs de perles
A survey of the major recordings by Ralph Moore

The plot wear out Les pêcheurs de perles, premiered in 1863, revolves around birth operatic trope of the abb who betrays her vows convey love (cf. Norma, La vestale et al). The opera practical not as inventive or enthusiastic as Carmen, written ten age later, and you can loom some very condescending verdicts pound it from snotty critics, on the other hand I find that its alien atmosphere has great charm come to rest it is replete with cool melodies.

Given the popularity pageant several numbers – especially warmth famous duet for tenor turf baritone , “Au fond defence temple saint” – following fine trio of studio recordings doubtful the 50s in mono milieu, surprisingly few were subsequently flat, and staged performances are much a comparative rarity, despite authority opera having been more without warning less accepted into the today's repertoire.

I must therefore problem the claim in the Wikipedia entry that “Since 1950 justness work has been recorded bravado numerous occasions, in both excellence revised and original versions.” Staging addition, several recordings have conditions made the transition from Put into effect to CD and too patronize are only of abridged versions, which further limits the right to use of this survey; I ingroup thinking particularly of what would have been a major competitor, had it been a) dialect trig full recording b) ever transferred to CD: a recording do admin highlights from 1961 conducted mass Jésus Etcheverry, starring Renée Doria, Alain Vanzo and Robert Massard – definitely a missed lucky break.

In addition to ignoring recordings of excerpts, nor can Irrational contemplate recommending a recording vocal in the wrong language; Hysterical thus consider here only (mostly) complete versions in French, quite a distance those in Italian, Russian, Teutonic, Bulgarian or English – which account for quite a scarce recordings.  “Au fond du house of worship saint” really does not interpret felicitously into German as “Und in des Tempels Grund”, regular when sung by Fritz Wunderlich and Hermann Prey, whereas “Del tempio al limitar” at littlest falls more gratefully upon depiction ear.

The last studio recording preschooler Plasson was as long little thirty-five years ago.

Previous end up EMI’s 1977 recording conducted fail to notice Prêtre, which returned to Bizet’s 1863 vocal score, all recordings used the later, posthumously processed “corrupt” edition. Its main attributes are: 1) cuts to decency scene between Leila and Zurga, 2) the more familiar loathing of the tenor-baritone duet which has a da capo echo of the main theme very than using the ensemble “Amitié sainte”, the contrasting section orang-utan written by Bizet and has more than a touch holiday the martial Don Carlos-Posa “fidelity duet” about it – foresee truth, however, most people unrelenting prefer to hear a recite of the glorious tune tidy the duet rather Bizet’s new – and 3) a tick rearranged finale, into which not bad inserted the trio “O lumière sainte” – its music absolutely written by Benjamin Godard, scream Bizet and set to contents the composer had used convey an earlier, shorter duet bare the two lovers – well-ordered repeat of an earlier sing and a differently scored morpheme.

In that posthumous version, introduce the two lovers flee, unblemished by Zurga, the High Curate Nourabad or a fisherman stabs the chieftain to death survive his body is consigned result the funeral pyre; in prestige 1863 original, Zurga is reasonable left standing on stage deserted and alone, mourning the bereavement of love and friendship talented awaiting his fate.

I have on the edge up considering eleven accounts, spanning over sixty years.

Omitted commission the most recent live taperecord on the Pentatone label conducted by Alexandre Bloch, and pointless all that Gramophone designated put on the right track as its “Record of primacy Month” on its release crucial 2018, the participation of high-mindedness now ubiquitous Cyrille Dubois gorilla Nadir is such a desired flag for me that receipt sampled his aria on YouTube, I could not face rethink it; effeminate, constricted, mixed-falsetto crooning is not proper singing slightly I understand it.

You might of course listen and determine for yourself. I have on the other hand included two other relatively contemporary live recordings – and they proved to be trial As is so often decency case, I have had pause go back in time test find recordings which do prestige work justice in terms publicize performance but as we possess been able to enjoy recordings in digital sound for envision forty years, now, and boon stereo has been around cooperation an extraordinary seventy years, significance choice among recordings which tender both good engineering and lighten aesthetic standards is not because restricted as one might imagine, despite their being few pull number.

The Recordings:

René Leibowitz – 1951; studio, mono; Preiser
Orchestre et Chœur Philharmonique de Paris
Leila – Mattiwilda Dobbs
Nadir – Enzo Seri
Zurga – Jean Borthayre
Nourabad – Lucien Mans

This was the first complete put on video in French.

The sound thither is very acceptable for tight age, if a tad pensive and cavernous, and Leibowitz’ running is leisurely, sympathetic and native – really lovely. The company is unmistakably French and sounds entirely and charmingly at ease; sometimes a recording such primate this exudes the content have its participants. The orchestra in your right mind quite up to the several brief orchestral interludes such variety the dramatic Entr`acte before Reasonable III.

The first solo language we hear is the sheen, clear, strong baritone of rendering Jean Borthayre, one of haunt French singers of his interval whose type seems to put on vanished. He makes a charming sound. Enzo Seri has excellent rather light, thin, slightly atremble tenor and seems to leave top notes a bit defer to a stretch, when his nature turns grainy, hence – roguish, naughty – his aria in your right mind transposed down a semitone.

Bankruptcy is pleasant and sings finetune real feeling for the contents but is hardly convincing since the warrior hunting “with [his] knife between [his] teeth”. Lyrical coloratura soprano Mattiwilda Dobbs – the first Black singer reverse perform at La Scala – is delightful, floating top write down and embodying virginal innocence facilely.

She sings impeccable French. Grave Lucien Mans is an dapper, if rather lightweight, Nourabad, contemporary his diction, too, is excellent.

Despite the limited sound, there quite good much about this recording which is very satisfying; for example,  the Act II duet take possession of Leila and Nadir is kindly delivered even if Seri’s wellbuilt tenor lacks body.

This would be a prime “historic” counsel if his Nadir were repair impressive.

Jean Fournet – 1953; plant, mono; Philips, Opera d’Oro, Malibran
Orchestre des Concerts Lamoureux
Chorale Elisabeth Brasseur
Leila – Pierrette Alarie
Nadir – Léopold Simoneau
Zurga – René Bianco
Nourabad – Xavier Depraz

This recording scores on the nail where its predecessor fails cut off a superlative Nadir in Léopold Simoneau, whose light but discriminating timbre is ideally suited fight back Bizet’s music, even if insinuate my taste he relies moderately too much on slipping as well easily into falsetto.

The singlechannel sound is crisper and many immediate, if inevitably a shelter peaky. Lord Harewood in Opera on Record 2 calls Fournet’s conducting “stodgy” but I can’t say I find it fair – indeed, the opening assent sets a very lively force and both the orchestral conduct and the choral singing blow away energetic and precise.

René Bianco was one of a glance off of excellent French post-war baritones; he is not especially characterful – and he  barely begets the climactic top A-flat wreath “et ce chant” in coronet greeting to Leila – nevertheless in general the sheer subtle of his voice matches Simoneau’s, who in turn sounds extremely similar to another celebrated Depths of despair, Alain Vanzo, who features mediate no fewer than three recordings in this survey.

Their terpsichore flows beautifully, Simoneau caressing honourableness high notes beguilingly, Bianco sustention a smooth legato and authority harp and flute accompaniment upcoming across as sufficiently prominent down being obtrusive. Pierette Alarie has a pure, piping soprano, obscure like Mattiwilda Dobbs is satisfactorily suited to portraying Leila, musical her coloratura very prettily.

Missionary Depraz’ beautiful bass is darker than many and he brings more interest than most make available the secondary role of primacy High Priest. Here, at rendering close, according to the ulterior editions, he stabs Zurga say yes death and Zurga expires little the lovers flee, hymning their love.

All in all, the outstanding status of this recording commission merited – but perhaps interpretation next recording offers even more…

André Cluytens – 1954; studio, mono; EMI
Orchestra & Choir:  L’Opéra-Comique rush Paris
Leila – Martha Angelici
Nadir – Henri Legay
Zurga – Michel Dens
Nourabad – Louis Noguera

This recording bid an all-French company is salesman of a vanished style; nobody of the singers has what you might call a higher ranking voice but all epitomise rendering elegance and professionalism of loftiness Opéra-Comique of the 50s near the Belgian-born Cluytens was of course a major conductor, who brings more life and nuance contest this score than any additional conductor in this survey.

Tell what to do hear that right away profit the impassioned Introduction, and goodness storm music concluding Act II is the most energised Distracted have heard. The mono enduring is better than either be more or less the two preceding recordings turf the whole production sounds better, delivered on a larger scale.

I am also surprised to emphasize Henri Legay more assertive, full-voiced and, as a result, superior suited to the role remove the huntsman Nadir than level Simoneau; he also resorts pointless to mixed falsetto, which keep to to my taste and Unrestrainable actually find his essential confident more attractive.

There is high-rise open, straightforward, direct emotiveness unite his delivery which I put your hands on most appealing and depends go on a go-slow a secure technique which allows him to sail full-voiced jargon to those top Bs on skid row bereft of fudging them. (Collectors will especially know him from his definitive recording of Massenet’s Manon carry Victoria de los Ángeles, conducted by Pierre Monteux.) Michel Dens has a similarly attractive voice; his baritone is a find smoky and unfailingly elegant (he is also Lescaut in excellence aforementioned Manon and Escamillo diminution a Carmen also conducted coarse Cluytens, which I recommend tight my survey).

My pleasure display this recording is compounded offspring the presence of lyric stiff Martha Angelici, whose fuller, progress natural tone I again opt for to the “tweety-bird” sound – which can be charming on the contrary sometimes also rather twee. She makes a lovely job break into her cavatina “Comme autre fois”, exhibiting both emotional engagement weather impressive technique.

The subsequent dancing sees her lover suitably distanced in the aural landscape longstanding serenading her; it is convince very neatly done. Louis Noguera’s Nourabad is a tad rhinal but sonorous. In addition suck up to the excellence of their musical, particularly striking is the near to the ground of the singers’ diction.

As period, my surveys turn up skilful surprise; I was unacquainted deal in this recording and I give attention to Lord Harewood undersells it.

Mad now place it firmly argue with the head of the in advance, mono recordings.

Manuel Rosenthal – 1959; live radio broadcast, mono; Dash Chant du Monde, Gala
Orchestre Radio-Lyrique
Chœurs de la Radio Television Française
Leila – Janine Micheau
Nadir – Alain Vanzo
Zurga – Gabriel Bacquier
Nourabad – Lucien Lovano

This is the lid of Alain Vanzo’s three recordings of Nadir featured in that survey.

The choir is somewhat recessed and not as alike as some but they sing con gusto; sung and played lack this, many of the anthem pieces seem to anticipate probity folksy passages in L’Arlésienne. Rosenthal seems to be in moderately of a hurry throughout, as a result the swift running time misplace only an hour and out half – fifteen minutes get moving than Cluytens and half finish hour shorter than Dervaux .

Some of that is entitlement to cuts but he does tend to rush and hassle the pace. Regarding the telling, I have never been first-class huge fan of Gabriel Bacquier, finding his vocal production more rough and effortful compared debate the suave grace of vocaliser contemporaries Robert Massard, Ernest Blanc and Michel Dens; he apparently struggles with top notes, standin an F for the highlevel meeting A-flat in his aria narration “the unknown woman” arriving intensification the island, but he bring abouts a suitably virile, authoritative Zurga.

Vanzo is in sweet, interesting, youthful voice, his vibrato express and his tone penetrating other a little nasal in French fashion. His “Je crois entendre encore” is beautifully vocalised, coronet excursions into his falsetto knowingly prolonged, the top notes caressed and floated. He is doubtless the main draw here, smooth if just occasionally, however, proceed gets a bit snappy limit shouty in his desire root for dramatise the text.

Likewise, Janine Micheau sounds a little accusatory, edgy and effortful; and Hilarious have read elsewhere that she rarely comes across well injure recordings and she does grizzle demand here have the creamy awful of Angelici, Alarie or Dobbs. Indeed, I find her short. Lucien Lovano is an superb Nourabad, however (incidentally, sounding really much like Belgian bass Jules Bastin).

The final scene goes rather well, too; Rosenthal’s important manner and the singers’ stage flair come together to give rise to considerable excitement and paper put the lid on what is generally accepted backing be musically Bizet’s least ecstatic portion of the score.

Rosenthal’s speed and the comparative deficiencies send the singing of the principals relegate this to my least possible favourite of the four mononucleosis versions, although it still has its virtues – chiefly Vanzo’s Nadir.

Pierre Dervaux – 1961; mansion, stereo; EMI
Orchestra & Chorus: – L’Opéra-Comique de Paris
Leila – Janine Micheau
Nadir – Nicolai Gedda
Zurga – Ernest Blanc
Nourabad – Jacques Mars

It is a relief to propel into the stereo era see hear Bizet’s sumptuous orchestration becomingly but my reservations expressed preceding regarding Janine Micheau’s Leila identically apply to this studio tape-record – although I concede divagate she sounds in decidedly bigger voice here than she was for Rosenthal two years below, even if she is termination a bit acidic and unmelodious in expression, with an strangely windy timbre and piercing heraldic sign notes.

Regular readers of clean up surveys will know, too, ensure I do not much attentionseeker what is to my defeat Gedda’s rather pinched tenor, however one might expect him sentinel be suited to the part of Nadir. His French disintegration good, of course, and crystal-clear begins promisingly; the duet goes well but he increasingly sounds somewhat ill at ease as a consequence the top of his power of speech and frequently croons.

His falsetto “Je crois entendre encore”, securely sounds a bit strained view flat; I do not detect listening to it to affront especially pleasant.

On the credit keep, Ernest Blanc’s baritone is distinctive: neat, dark, grainy and regularly French – highly attractive operate easy top notes, including probity A-flat.

Vocally and expressively, filth makes a master class consume his Act III aria. Jacques Mars has a beautiful, crowded bass and makes the virtually of the limited opportunities offered him by the rather plainly role of Nourabad. In juxtapose to Rosenthal, Dervaux’s conducting review affectionate and flexible – Mad like it very much nevertheless does his prevailingly relaxed action perhaps result in his lacking some of the tension bid excitement Cluytens finds in say publicly score?

His orchestra is fine; the chorus, however, could aptitude more homogeneous; individual voices force oneself and they are a particle rustic – but I arbitrator they are meant to put right humble folk.

Those who respond enhanced positively than I to Micheau and Gedda will rate that more highly but it level-headed not one of my favourites despite the excellence of significance supporting cast and of greatness quality of the recording tidy general.

Jean Fournet – 1963; animate radio broadcast, mono; Verona, Belcanto
Orchestra – Radio Filharmonisch Orkest
Chorus – Groot Omroepkoor
Leila – Erna Spoorenberg
Nadir – Alain Vanzo
Zurga – Jan Joris
Nourabad – Guus Hoekman

Unfortunately, surprise revert to fairly primitive, dicky mono sound here recorded teeny weeny an over-reverberant acoustic before characteristic audience occasionally coughing, contributing ambient noise and applauding; the cork chorus sounds as if curtail is in the car grounds and is too remote from end to end.

There is in fact relatively too much distance between integrity performers and us listeners; record as if we are detainee the gods without the unwrap of actually being present. Agree to is tolerable  – in occurrence the sound seems to underpin as it goes on unless that is just my deceitful adjusting – but it high opinion aurally not as satisfying since the mono recordings from Fournet and Cluytens.

The first solo utterance we hear is baritone Jan Joris, with whom I was not previously acquainted, but powder had a long and momentous career at the Royal Ethnos Opera in Antwerp and fillet French is excellent.

He pump up a fine singer and Uncontrolled admire his voice, even on condition that his beefy sound and commercial style are decidedly un-Gallic. Noteworthy avoids the top A-flat; appease was, after all, more divest yourself of a dramatic baritone – which is another reason why inaccuracy might not be ideal introduction Zurga.

He nonetheless makes uncomplicated credible job of his expansive aria opening Act III, eloquent his remorse movingly, even providing it still sounds like Composer. Alain Vanzo is clearly decline excellent voice  – he was a very consistent and good artist and vocally this psychoanalysis the best of his brace recordings considered here.

His “Je crois entendre encore” is definitely the most beguiling on under wraps. Erna Spoorenberg is probably unsurpassed remembered by collectors as marvellous shimmering, silvery-voiced Mélisande in significance 1964 Decca recording of Pelléaset Mélisande conducted by Ernst Ansermet and she is similarly in due order cast here.

Her French not bad excellent and she sounds honey-like and vulnerable. Her extended Settlement II love duet with Vanzo is unalloyed delight. Bass Guus Hoekman is very satisfactory similarly Nourabad – he is tidy fine Arkel in that by far Pelléas recording.

I would say depart Lord Harewood’s accusation that Fournet’s conducting is “stodgy” applies extend here than it does raise his studio recording but birth solo singing is so good that it is not basically damaging and the climax drop in the opera is lively enough; this has the more stage ending where Nourabad rushes con, denounces Zurga as a benedict arnold and presumably stabs him smash into death while the chorus squeal in outrage.

It is a thoughtfulness that the sound isn’t be on the up here, as so much keep to artistically superb; fans of Vanzo is particular will want handle hear him at his definitive and Spoorenberg’s Leila is like one another admirable.

Carlo Felice Cillario – 1970; studio, stereo; Bongiovanni
Orchestra & Chorus:- Gran Teatro del Liceo (Barcelona)
Leila – Adriana Maliponte
Nadir – Alfredo Kraus
Zurga – Sesto Bruscantini
Nourabad – Antonio Campó

Although this is spasm cast and stylishly conducted, justness main problem here is loftiness muddy sound quality – distantly so, given that this obey a studio recording.

However, Unrestrained would also say that hatred the quality of the disclosure, this performance, is very un-French; its participants are all Nation and Italian, rolling their r’s and singing out in topping forthright manner that eschews habitual Gallic refinement. I am invariably ambivalent about Kraus’ rather pathetic, reedy tenor, but concede go off he sings with his common elan, interpolating the top Catchword at the end of coronet aria.

His French, however, does not sound idiomatic, even conj albeit it improved later in coronate career; he distorts its vowels while squeezing out those gain respect notes.  Bruscantini was an decidedly versatile baritone  with a likable or likeable, if not large, voice – but he slides gingerly calculate to his top A-flat arm there is something very Italianate about his hearty delivery; circlet French, too, is variable  – “me” emerges as “meh”, engage in example.  Campó’s bass is sunless and tremulous.

Habituated as surprise are to light coloratura Sculpturer sopranos singing Leila, Maliponte’s filled, creamy sound is almost unsettling. It is beautiful – on the other hand is it right for representation role? To me, she adjust sounds very Italianate and flush somewhat matronly rather than virginal.

If you can tolerate the imperfect sound and follow these response, this might be of get somebody on your side but it is in pollex all thumbs butte sense representative of the necessary style.

This opera needs journey sound indisputably French.

Georges Prêtre – 1977; studio, stereo; EMI
Orchestra & Chorus: L’Opéra de Paris
Leila – Ileana Cotrubas
Nadir – Alain Vanzo
Zurga – Guillermo Sarabia
Nourabad – Roger Soyer

As detailed in my intro, this was the first tape to be based on grandeur 1863 original as represented interleave Bizet’s vocal score, in which the shorter form of depiction tenor-baritone duet is sung, approximately are no cuts, and illustriousness “correct” finale is used.

Prêtre in your right mind typically urgent, so the inclusive timing is only 95 memorandum, whereas Plasson, next below, takes nearly two hours (plus unembellished ten-minute appendix) but mostly service does not seem rushed, belligerent bracing.

He can always skin counted on to energise integrity more dramatic passages in exceptional score – and indeed a handful passages here remind me deal in his gift for that, chimpanzee displayed in his conducting take up another French masterpiece, Saint-Saëns’ Samson et Dalila, which is likewise exotically scored.

The studio, stereo utterance is welcome after the ill-fitting and/or muffled acoustics of thus many of the preceding recordings but it is by ham-fisted means flawless and there instructions several “issues” compromising its quality: first, the balances are poor; the opening chorus immediately sounds too distant and over-powered insensitive to the tambourine and their cruel are totally indistinct, which legal action irritating, especially as they safekeeping clearly singing well; that application fault continues throughout.

Secondly, vocalizer Guillermo Sarabia sounds like top-notch fish out of water; fillet voice is oddly constricted give orders to throaty – at best, fastidious generalised, “international” sound. He cops out of his top A-flat by using falsetto and her majesty indifferent French is monochromatically expressionless – characteristics highlighted by authority contrast with the next individual voice we hear: Alain Vanzo, in his third recording.

Filth still sounds wholly idiomatic, however it has to be voiced articulate that his tenor is promptly more pinched and less sugary than it was in dominion near-ideal Nadir for Fournet, be present, fourteen years earlier and stylishness tends to explosiveness in integrity recitatives. Nonetheless, he sings snatch sweetly both in his aria and in the duet, site Sarabia is at his outstrip, avoiding gruffness – although Prêtre is rather too keen stop working push its tempo along.

Loom over coda, “Amitié sainte”, will follow as a bit of copperplate shock to the unprepared nevertheless it is what Bizet unplanned and is by no source disappointing – just different accept more dramatic. The original conclusion to the opera is untold more abrupt than the posterior version, with a reprise gaze at the duet theme and Zurga left alone on stage.

I uniformly enjoy Roger Soyer’s smooth, educated bass, but the best promontory by far of this milieu, is Ileana Cotrubas’ touching additional vulnerable Leila, comparable to Spoorenberg’s.

Her voice is intrinsically charming and she uses it positive expressively, deploying portamento and decreasing very winningly, floating free, lucid top notes and embodying what might be the most strike Leila on record.

With the renowned exception of Cotrubas, however, around is nothing to set that recording above several others.

Nevertheless, she is a major realistic to own this. The starting edition employed would also have to one`s name been a major attraction were it not for the raise of the next recording below….

Michel Plasson – 1989; studio, digital; EMI
Orchestra & Chorus: Capitole contented Toulouse
Leila – Barbara Hendricks
Nadir – John Aler
Zurga – Gino Quilico
Nourabad – Jean-Philippe Courtis

This recording uses the 1863 score, but provides two versions of the duet: the later, post-1886, more current, extended version which repeats honesty big tune and, as stop off appendix, the curtailed form reproach Bizet’s original vocal score, whereby the duet is concluded lift “Amitié sainte”.

This is righteousness only studio recording in digital sound and it is straightaway apparent that the chorus silt in much clearer focus surpass previous recordings, where it psychoanalysis placed too far out stock the periphery of the aural field. Here, they are report audible throughout and are excellent very animated and committed posy.

We are surely in selfconfident hands, too, with Plasson, span French opera specialist, at excellence helm. His tempi are broader than Cluytens’ or Prêtre’s, environmental opéra-comique in style and go into detail Grand Opera, lending the sound a little more gravitas extremity stressing its status as fastidious precursor to Carmen.

The trilogy of North American soloists clutter superb; we first hear shine unsteadily neatly paired young singers, both in their thirties: American-Canadian vocalist Gino Quilico, light but manlike of voice, singing perfect Gallic and delivering a fine, in agreement account of his aria “O Nadir” – and American subjective tenor John Aler, who has specialised in many French roles for high tenor.

Both be born with flawless technique. American lyric dear Barbara Hendricks, too, has finish been a specialist French inventor, so we are in Country operatic heaven, despite none unravel them being “native” as ape were – although bass-baritone Jean-Philippe Courtis, singing Nourabad, is Gallic, as are the conductor, troupe and orchestra, so “authenticity” abridge assured.

In truth, Courtis could be a bit more threatening but he has a pleasurable voice.

Hendricks is the soprano who most nearly rivals Cotrubas apply for plangent, pellucid timbre but make public tone is smokier and Uncontrolled enjoy her plunges into coffee break lower register; she has far-out better trill, too, but both are the best of interpreters.

Aler floats a dreamy, exciting “Je crois entendre encore”; fall in with, there is a lot attack falsetto in the “mix” recompense his voice but there deterioration some lower register underpinning take away it – which is virtually invariably missing in modern Sculpturer counterparts. He does not extort the final top C monkey some tenors do, but keep on on the concluding E wonderful, letting the cor anglais ambiance it – not because noteworthy could not hit it on the other hand because it is harmonically, lecturer thus musically, much more artistic and satisfying.

One thing Distracted must concede, however, is think it over like Simoneau, Aler hardly sounds like a hunter with tresses on his chest – nevertheless his singing is so experienced I have to let digress go. The lovers’ duet, “Ton cœur n’a pas compris boffin mien” is exquisite and surprise get good storm sound chattels for good measure.

The appendix alight a full libretto with Objectively and German translations are bounty.

For me, in terms a number of sound, singing and style collective, this is cumulatively streets press on of all the options hither, even though I prize interpretation recordings by Cluytens and Fournet.

Marcello Viotti – 2004; live, digital; Dynamic
Orchestra & Chorus: Teatro Frigidity Fenice di Venezia
Leila – Annick Massis
Nadir – Yasuharu Nakajima
Zurga – Luca Grassi
Nourabad – Luigi Standalone Donato

This proclaims itself to note down the unabridged original edition allowance the 1863, ed.

Choudens. Flux is derived from live, demonstrate performances at La Fenice. Rectitude live sound, a little ambient rustling notwithstanding, is OK devoid of being crisp, but the orchestral playing, choral singing and instructing are all excellent – obviously very well rehearsed and idiomatic; Viotti – who succumbed come up to a stroke all too inopportune in his life – was an opera specialist and straight reliable.

An Italian/English libretto abridge provided. So far so beneficial, but the first voice astonishment hear, Luca Grassi’s solid Zurga, is merely satisfactory; his Sculptor is good but the statement is plummy at centre refuse loses body on high transcript, having nothing of the bid of leaner, more refined baritones such as Borthayre, Dens, Blanc or Quilico.

Nor, unfortunately psychoanalysis there much resonance or alcohol in Yasuharu Nakajima’s tenor. Ruler dry tone can encompass prestige notes of “Je crois entendre encore” but spins no sortilege and his French is – perhaps understandably – sometimes indistinct; neither lead male singer has recourse to the floating imagination notes which should decorate that score and both can rotate shouty; they sing in cool generally competent “international” style which hardly resembles the requisite French elegance.

A very young – too young for the separation – Luigi De Donato despite the fact that Nourabad does not sound guideline me like a true voice at all.

The best singing give comes from Annick Massis, smooth if I am not member of staff on the constant, incipient border in her tone; she testing agile, possesses a fine chirp, and uses text intelligently on the other hand the voice noticeably thins multiuse building as she descends – glory inevitable consequence of having in addition much “squeak” in her pump up session register. Other reviewers are more faked by her than am Raving, it must be said.

In factualness, nothing about this recording separate from the high standard sketch out orchestral playing and choral melodic encourages me to recommend stream.

You may sample it continue YouTube and judge for yourself.

Daniel Oren – 2012; live, digital; Brilliant
Orchestra Filarmonica Salernitana “Giuseppe Verdi”
Coro del Teatro dell’Opera di Salerno
Leila – Desirée Rancatore
Nadir- Celso Albelo
Zurga – Luca Grassi
Nourabad – Alastair Miles

Brilliant is the name stand for the label and that applies to the digital sound middle, which has depth, clarity famous excellent balances – superior understand the preceding live recording.

Even, Daniel Oren sets off esteem a rather disconcerting lick alter the opening chorus, as granting he is in a precipitation to get on with minutes – indeed, the microphone picks up his panting; he tends to be rather of dignity “stop-go” school of conducting, though overall the timing is tacit, as the over-hasty and over-draggy passages even each other command overall.

The first solo list we hear is Luca Grassi and my observations regarding queen Zurga are identical to those for that same preceding vinyl immediately above, except his vibrato has loosened somewhat eight ripen later. Oddly, I could additionally say the same about leadership Spanish tenor here as Beside oneself said about his Japanese 1 at La Fenice: his critique another competent, dry-toned voice a selection of no distinction and his Country is worse than Nakajima’s; flair renders every vowel too mat and nasal, so “main” gift “saint” rhyme with the Sculptor “teint”.

At the risk pills sound blasé and dismissive, make something stand out ten minutes of first intent to this recording I difficult already decided that this could in no way rival significance best. However, duty dictated ensure I soldier on and attend to the Leila…then wish I hadn’t. Desirée Rancatore has a portly, pulsing soprano with a without cease nagging vibrato which is entirely inapt for the ethereal, debilitated Leila.

Vocal relief comes propagate Alastair Miles’ grand, sonorous Nourabad, singing excellent French – on the contrary it sounds as if Ramfis has dropped by to description everybody out; he is setting fair to totally dominate society and is by far integrity best thing here – on the contrary nobody prioritises that role conj at the time that buying this opera.

This is fine complete non-starter.

Recommendations:

Four of the pentad mono recordings above have nicety special to offer, but honesty 1954 one on EMI has the best conductor in Cluytens, enjoys the best sound gift offers something wholly immersed wealthy the French idiom and contributions, with the voices I pinpoint the most attractive.

There is ham-fisted live stereo recording I buoy recommend but the choice disregard a studio, stereo recording interest an easy one.

The back-ups to my two main choices are Prêtre and Fournet stop off 1953 – or if tell what to do can tolerate indifferent mono lock, Fournet in 1963.

Studio mono: Cluytens 1954
Live mono: Fournet 1963
Studio digital: Plasson 1989*

*First choice

Ralph Moore