GUSTAVE CHARPENTIER Music for the Prix de Rome
Flemish Radio ChoirThe Royal Symphonic Band of the Belgian GuidesBrussels Philharmonic – the Orchestra of FlandersHervé Niquet
GCD 922211
2 CDs
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Performing artists
Manon Feubel, sopranoSabine Devieilhe, sopranoJulien Dran, tenorBernard Richter, tenorMarc Barrard, baritone Alain Buet, baritone
Flemish Radio Choir The Royal Symphonic Band of the Belgian Guides Brussels Philharmonic – the Orchestra of Flanders
Hervé Niquet, conductor
Production details
Recorded in Brussels (Flagey) and Antwerp (De Singel), Belgium, in June 2011Engineered by Felicia Bockstael et Steven MaesProduced by Felicia Bockstael et Hervé NiquetDesign: www.valentiniglesias.comExecutive producer: Carlos Céster
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GUSTAVE CHARPENTIER (1860-1956)Music for the Prix de Rome
CD I (66:18)
01-05 Impressions d’Italie Symphonie pittoresque (envoi de Rome, 1889)
01 Sérénade 02 À la fontaine 03 À mules 04 Sur les cimes05 Napoli
06-12 Didon Cantate (concours pour le prix de Rome, premier grand prix, Paris, 1887) Soprano, ténor, baryton et orchestreTexte d’Augé de Lassus
06 Prélude 07 Récit et Air : Seule, me voilà seule ici... (Didon) 08 Récit : Pourquoi cette tristesse ?... (Didon, Énée) 09 Duo : Énée aime Didon, Énée est auprès d’elle... (Didon, Énée) 10 Récit : Le coupable jamais ne repose ou sommeille (Didon, Énée, Anchise) 11 Air : L’avenir glorieux que tu pouvais attendre... (Anchise) 12 Trio : Prends pitié de mes alarmes... (Didon, Énée, Anchise)
CD II (58:39)
01-04 La Vie du poèteSymphonie-drame en trois actes et quatre tableaux (envoi de Rome, 1888)
01 Enthousiasme 02 Doute 03 Impuissance04 Ivresse
05 La Fête des myrtes Chœur avec orchestre (concours d’essai pour le prix de Rome, Paris, 1887
About this CD
To follow his illuminating recordings of music by Claude Debussy and Camille Saint-Saëns with the Brussels Philharmonic, Hervé Niquet is now turning his attention – one gloriously attuned to a broad sweep of French music – away from the Baroque (such as with the recent Campra Le Carnaval de Venise with Le Concert Spirituel) to the dramatic realism of the end of the 19th century.
Gustave Charpentier has, rather unfairly, become known for being the composer of only the one work, that operatic reflection of Zolaesque naturalism, Louise, first performed in 1900. Are people aware that, despite the opera’s working-class Parisian setting of Montmartre, Louise had been composed (at least in part) on one of the seven Roman hills, more than ten years earlier? And that Italian period in Charpentier’s life (1888-1890) had actually turned out to be his most fruitful creative time? It was there in Rome that he worked on two masterly symphonic works, the one elaborating his Impressions d’Italie which was to enjoy significant success right up until the Second World War, whilst the other – more experimental – called for three soloists, a chorus and a large symphonic orchestra: La Vie du poète. It was thanks to the quality of his chorus La Fête des myrtes and his magnificent Wagnerian cantata Didon that the composer won, in 1887, the famous Prix de Rome, opening the way for him to have a Bohemian séjour in the Villa Medici.
This third release in the Prix de Rome series by Glossa (in conjunction with the Palazzetto Bru Zane) is set to demonstrate a composer whose range of talents far extends beyond the – admittedly enchanting – aria Depuis le jour...
Hervé Niquet is far less interested in being known as a Baroque music specialist than for his passionate interest in all of French music, especially its vocal and lyrical compositions and nowadays he is as liable to be found directing a symphony orchestra as his own period instrument ensemble Le Concert Spirituel. It may come, for some, as a surprise to find Niquet teaming up with the Brussels Philharmonic to record Debussy but this future release will mark the inauguration of a new adventure for Niquet and Glossa focusing on the music associated with the Prix de Rome competition which drew in scores of leading French composers all the way from 1803 through 1968. [read more...]
Taking a leading role in the revival of tragédies lyriques (or tragédies en musique), the best of the French Baroque opera tradition, is a long, daunting (and expensive) challenge but one which Hervé Niquet has been keen to accept. Present as a singer in the chorus of Les Arts Florissants in 1987 when William Christie put on Lully’s Atys, Niquet formed his own ensemble, Le Concert Spirituel that same year. Since that time he has balanced his own endeavours to stage (and record) key French tragédies with his other musical interests, which extend from Monteverdi to Purcell and Handel (soon to be reissued – now on SACD – is Niquet’s recording of the Fireworks and Water Music suites) right the way through to later composers such as Schumann, Gounod and d’Indy.[read more...]