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FR / EN

ALBUM

La Reine de Chypre / Halevy

Orchestre de Chambre de Paris

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L'Aiglon / Honegger & Ibert

Orchestre symphonique de Montréal

Hervé Niquet, conductor

Véronique Gens, Catarina Cornaro
Sébastien Droy, Gérard de Coucy
Étienne Dupuis, Jacques de Lusignan
Christophoros Stamboglis, Andrea Cornaro
Artavazd Sargsyan, Strozzi
Éric Huchet, Mocénigo
Tomislav Lavoie, Herald of Arms

Orchestre de chambre de Paris
Chœur de la Radio flamande

"De La Reine de Chypre de Halévy (1841), Berlioz écrivit : « Son succès égalera au moins celui de La Juive. » Wagner ajouta : « C’est dans La Reine de Chypre que la nouvelle manière d’Halévy s’est manifestée avec le plus d’éclat et de succès. » Plusieurs voix – et non des moindres – se sont ainsi élevées pour désigner cet ouvrage, composé six ans après La Juive, comme le chef-d’œuvre de son auteur. Créé le 22 décembre 1841, l’opéra de Halévy faisait la part belle à Rosine Stoltz, rôle-titre et seule dame de la distribution, qu’on avait préféré isoler suite à ses incessants démêlés avec les autres chanteuses de la troupe. À ses côtés brillait le ténor Gilbert Duprez dans le rôle de Gérard. La narration fait voyager le spectateur des palais de Venise à ceux de Chypre. Malgré un grand succès que confirment diverses traductions et adaptations réalisées dans la foulée de la création (notamment les Caterina Cornaro de Lachner en 1841 et de Donizetti en 1843), l’ouvrage a peu à peu disparu des scènes européennes."

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Dinorah / Meyerbeer

Deutsche Oper Berlin

Patrizia Ciofi (Dinorah)

Etienne Dupuis (Hoël)

Philippe Talbot (Corentin)

Seth Carico (Le Chasseur)

Elebenita Kajtazi (Chevrière et premier pâtre)

Gideon Poppe (Le Faucheur)

Christina Sidak (Chevrière et second pâtre)

Deutsche Oper Berlin, Enrique Mazzola

 

"German opera composer Giacomo Meyerbeer (1791-1864) is considered by many to be the most successful stage composer of the nineteenth century. His compositional style merged Italian vocal tradition with German orchestral style. His opera Dinorah is a French opera comique in three acts which premiered in 1859. The story is based on two stories by Emile Souvestre, Le Kacouss de lArmor, and La Chasse aux tresors. This production features Der Chor der Deutschen Oper Berlin and Das Orchester der Deutschen Oper Berlin."

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Thérèse / Massenet

Orchestre Opéra national Montpellier 

TRACK LIST

 

CD 1
 

Act 1: Les ailes qui s'ouvrent

Scenes 1-3

Scene 4

Scene 5

Scene 6

Scene 7

Scene 8

 

Act 2: Les ailes qui battent

Scene 1

Scene 2

Scene 3

 

CD 2

 

Act 3: Les ailes meurtries

Scene 1

Ballet

Scene 2

Scene 3

Scene 4-5

Scene 6-7

 

Act 4: Les ailes brisées

Scene 1-4

 

Act 5: Les ailes fermées

Scene 1

 

L'Aiglon

Honegger & Hibert

 

Anne-Catherine Gillet, Marc Barrard, Étienne Dupuis

Philippe Sly, Hélène Guilmette, Marie-Nicole Lemieux

Orchestre Symphonique de Montréal

Kent Nagano

 

Label: Decca

UPC: 0289 478 9502 2

 

 

Given the abundance of the operatic discography, the absence of L’Aiglon is strange, even incomprehensible. All that exists is an incomplete vinyl recording from 1956 – outdated, to say the least, and in any case next to impossible to find these days.

 

The complete reading by the Orchestre symphonique de Montréal, conducted by Kent Nagano and issued by Decca, qualifies therefore as an event, and finally does justice to a work that is original in more ways than one. Original through the almost unheard-of association of two composers, in this case Arthur Honegger and Jacques Ibert, who divided up composition duties. Original through the incorporation of the historical figures who inspired dramatist Edmond Rostand; the opera’s libretto, adapted by Henri Cain and largely adhering to the outline of Rostand’s play, lends the work a poetry and dramatic power rarely equaled in opera. Original also through the composers’ decision to entrust the role of Napoleon’s son to a soprano: in all likelihood they were inspired by the example of Sarah Bernhardt, who played the role of the Aiglon when the theatre piece had its premiere in 1900. (The opera version was first staged in 1937, at the Opéra de Monte-Carlo.)

 

For this recording, captured live during three concerts in the spring of 2015 at Maison symphonique de Montréal, we had the good fortune to be able to assemble a French-speaking cast perfectly at home with a very distinctive French musical style. Our dearest wish is that the enthusiasm that prevailed during its making be shared by those who discover and listen to this recording.

 

Jean-Pierre Brossmann

OSM vocal advisor

 

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Love blows as the wind blows

Love Blows as the Wind Blows

Butterworth, Barber, Bush, Coallier

ÉTIENNE DUPUIS, baritone

Quatuor Claudel-Canimex

Élaine Marcil, Flavie Gagnon, violins;

Annie Parent, viola; Jeanne de Chantal Marcil, cello

 

Label: ATMA Classique

Catalogue No: ACD2 2701

UPC: 722056270120

 

 

George Butterworth’s moving cycle Love Blows as the Wind Blows lends its title to the solo debut album of Canadian baritone Étienne Dupuis. He also sings a rarely recorded English song cycle, Farewell Earth’s Bliss, by British composer Geoffrey Bush, and Dover Beach, an early work by Samuel Barber.

 

This exquisite and refined selection includes four French songs by Canadian composer Réjean Coallier based on poems by Sylvain Garneau. Dupuis also performs the iconic Irish folk song Danny Boy, arranged for voice and string quartet. Dupuis is accompanied by the musicians of the Quatuor Claudel-Canimex, who play Barber’s famous Adagio in its original version for string quartet.

 

Étienne Dupuis has been receiving international acclaim since his debut at Deutsche Oper Berlin in 2011 in the role of Zurga in the Pearl Fishers. He was invited back to Berlin to perform in Barbiere di Siviglia (Figaro), and La Traviata (Germont). Recent engagements include Marcello in La Bohème with Vancouver Opera, Joe de Rocher in Dead Man Walking with Opéra de Montréal, André Thorel from Massenet’s Thérèse and La Vivandière by Benjamin Godard with Festival de Radio France in Montpellier, Figaro in Barber of Seville in Avignon and the role of Zurga with Opéra National du Rhin, Strasbourg and Opera de Nantes.

 

For more than 25 years, the musicians of the Claudel-Canimex Quartet have brought the repertoire for string quartet to life with the same ardor and passion as the famous French artist for whom the quartet is named. The musicians use their 'collective spontaneity and virtuosity' and their 'beautiful romantic phrasing' (Claude Gingras, La Presse) to showcase a bold and varied repertoire, with a special emphasis on works by female composers.

 

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TRACK LIST

 

George Butterworth (1885-1916)

Love Blows as the Wind Blows

1. I. In the year that’s come and gone, love, his flying feather

2. II. Life in her Creaking Shoes

3. III. Fill a glass with golden wine

4. IV. On the way to Kew

 

Samuel Barber (1910-1981)

5. Dover Beach op 3

 

Geoffrey Bush (b.1920)

Farewell, Earth’s Bliss

6. I. Sweet day, so cool, so calm, so bright

7. II. O, the month of May, the merry month of May

8. III. Do not fear to put thy feet

9. IV. Fear no more the heat o’ the sun

10. V. When May is in his prime

11. VI. Fair pledges of a fruitful tree

 

Samuel Barber

12. Adagio pour cordes

 

Trad.

13. Danny Boy [arr.: Daniel Desaulniers]

 

Réjean Coallier (b. 1953)

Cycle of songs set to poems by Sylvain Garneau

14. I. Dans chaque village

15. II. La rivière

16. III. Élégie

17. IV. Décembre

Choeur et Orchestre Opéra national Montpellier Languedoc-Roussillon

Alain Altinoglu

Nora Gubisch

(Thérèse)

Charles Castronovo (Armand de Clerval)

Etienne Dupuis (André Thorel)

François Lis (Morel)

Yves Saelens (Un Officier)

Patrick Bolleire (Un Officier / Un Officier municipal)

Gaspard Ferret (Une Voix)

"The composer Jules Massenet constantly renewed his style. Towards the end of his life he turned to experimental forms of expression that are astonishing even today. Combining a marked taste for the late eighteenth century (already found in Manon and Werther) with a very modern use of naturalism, Thérèse shows both immediacy in its dramatic discourse and lyricism in its emotional expression, thus greatly deepening the strength and poignancy of the subject."

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