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ernani
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« on: 12:57:09, 09-01-2008 » |
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Any other Massenet fans here? I've long thought that the caricature of him as a frothy lightweight was somewhat unfair. Previously, I only knew Werther and Manon. But over the past few months I've been doing some further listening, mainly to La Navaraisse, Le Jongleur de Notre-Dame and Escarlmonde . They strike me as splendid pieces (in spite of some creaky libretti) and I'd like to do some more exploring.
I'd be grateful for recommendations of good recordings ,and any other thoughts on the merits, or otherwise, of Massenet's operas.
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Ruth Elleson
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« Reply #1 on: 13:23:03, 09-01-2008 » |
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I've seen staged productions of Manon, Werther, La Navarraise and Le portrait de Manon.
I've seen a couple of concert performances of Thaïs and will be seeing Cendrillon in concert in a few months' time.
Unfortunately I was still far from London the last time the ROH put on Chérubin, and the time Chelsea Opera Group did Esclarmonde.
Of those works I have heard to date, only Le portrait de Manon was a disappointment - a one-act piece with loads of recycled music from Manon. The plot's got something to do with Manon's niece, IIRC, but it's highly unmemorable. La Navarraise was riveting, thanks in part to the quality of the cast (it was at the Guildhall, with Gweneth-Ann Jeffers - recently Gutrune at the Proms - and Andrew Rees, now an ENO regular).
I consider myself woefully under-experienced where Massenet is concerned, and I want to hear more. There was a documentary on BBC4 a few years ago which introduced me to snippets of some of the works I didn't know, and that left me convinced I would really, really like to see Esclarmonde. It sounds terrifically exciting, musically. So much of what I have already heard is either exciting or ravishingly passionate, often (dare I say) excessively so.
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Stanley Stewart
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« Reply #2 on: 15:48:11, 09-01-2008 » |
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My first recommendation for "Werther"on CD is the 1931 recording with Georges Thill and Ninon Vallin, available on EMI References; CHS 7 63195 2. My LP set, EMI La Voix De Son Maitre 2C153-10746/8, is still valued for the appeal of the exquisite box cover and the illustrations in the booklet.
I first saw the opera at The Coli, in 1977, with John Brecknock and Janet Baker, conducted by Charles Mackerras - Dame Janet rather mature for the role of Charlotte but her Act 3 'letters scene' remains unforgettable. This recording is also available on CHANDOS 3033(2).
A fine subsequent production at Covent Garden, featured Jose Carreras and Frederica von Stade, conducted by Colin Davis. Also available on CD. Philips 416 654-2.
I now realise that I've seen more productions of this opera than any other; in live performance, on CD or DVD, and the 1999 CD recording on EMI Classics; 7243 5 56820 2 4; with Roberto Alagna and Angela Gheorghiu, initially caught my attention for the conducting of Antonio Pappano with LSO.
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Don Basilio
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« Reply #3 on: 15:55:20, 09-01-2008 » |
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I keep on meaning to tell the story of how I nearly heard Esclamonde, but I don't think this is the place. Save it for a long winter's evening by the fireside.
BTW, what does IIRC mean?
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Ruth Elleson
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« Reply #4 on: 16:11:22, 09-01-2008 » |
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Sorry Don B, I am guilty of overuse of messageboard-speak.
IIRC = if I recall correctly
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Don Basilio
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« Reply #5 on: 16:12:40, 09-01-2008 » |
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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George Garnett
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« Reply #6 on: 16:34:56, 09-01-2008 » |
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I first saw the opera at The Coli, in 1977, with John Brecknock and Janet Baker, conducted by Charles Mackerras - Dame Janet rather mature for the role of Charlotte but her Act 3 'letters scene' remains unforgettable. Unforgettable indeed, Stanley. This was a production also notable (though my talent-spotting abilities certainly weren't up to it at the time) for the appearance of a Master Ian Bostridge in the role of Max. I assume this must be the same Ian Bostridge. Does anyone know? He would have been thirteen at the time. |
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« Last Edit: 16:53:03, 09-01-2008 by George Garnett »
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Reiner Torheit
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« Reply #7 on: 16:38:04, 09-01-2008 » |
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I was recently - due to an act of kindness by a fellow boarder who will doubtless be along here shortly - able to listen to CLEOPATRE, which is a distinguished piece of work from the latter end of Massenet's output - some very fine writing, exceptional orchestration, and real three-dimensional characters. Did anyone else see THERESE when ENO did it around 20 years ago? I can't say the production did the piece any favours  THAIS used to get staged as a vehicle for star sopranos, although it seems to have dropped into the same obscurity as most of the rest of Massenet's output, including DON QUICHOTTE. |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Ruth Elleson
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« Reply #8 on: 16:49:16, 09-01-2008 » |
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In the past five years, both ENO and the ROH have given Thaïs in concert performance. I think worldwide it is comparatively frequently done in such a context, though infrequently staged. I think that as Massenet operas go, it's positively standard rep  with only Manon and Werther ahead of it (as they're pretty much ACTUAL standard rep). I should think that the presence of "That Tune" has something to do with it... |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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oliver sudden
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« Reply #9 on: 16:54:53, 09-01-2008 » |
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Ah! I'd forgotten Don Quichotte. There was a wonderful production of that in Melbourne many moons ago. Rosinante was a bike with a remote-controlled head. I found it all very moving but I don't remember much at this distance...  |
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Lobby
Gender: 
Posts: 15
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« Reply #10 on: 17:21:47, 09-01-2008 » |
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There is a DVD available of Thais from La Fenice. A rather odd production with a fairly static set consisting of a set off stairs, a vivid red backdrop and a crown of thorns. The production features a reasonable amount of female nudity as well, if you like that sort of thing!  Musically the standards are pretty good, if not exceptional. Eva Mei is a good Thais and Michele Pertusi is also good. |
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"I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever."
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Il Grande Inquisitor
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« Reply #11 on: 19:48:28, 09-01-2008 » |
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I was recently - due to an act of kindness by a fellow boarder who will doubtless be along here shortly - able to listen to CLEOPATRE, which is a distinguished piece of work from the latter end of Massenet's output - some very fine writing, exceptional orchestration, and real three-dimensional characters.
And here I am! Cléopâtre was my musical discovery of 2007 thanks to the rather rare recording I managed to track down in July and discussed here: http://r3ok.myforum365.com/index.php?topic=1290.msg48216#msg48216. I don't know a lot of Massenet - hadn't hugely enjoyed Manon that much on disc, but I did very much like the recording of Thaïs with Fleming and Hampson, which led me to investigate Cléopâtre. Don Quichotte is well worth hearing, as is Werther - I haven't had a chance to listen to it yet, but I did find a recording of the baritone version, adapted for Battistini. I haven't seen a Massenet opera in the theatre and wonder when an opportunity may arise. |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Reiner Torheit
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« Reply #12 on: 19:55:28, 09-01-2008 » |
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I still have a dim memory of the old ENO WERTHER, although it was past its best-by date when I saw it, I fear. ENO also had a MANON for a long while, which was so old that it appeared to have been created under Massenet's own personal supervision  It seems that public taste has moved on and left the genre of the tragedie-lyrique floating like jetsam in its wake. (Not only Massenet, but also Gounod, Charpentier etc) I wonder if there'll be a new-found enthusiasm for this repertoire outside France? |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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HtoHe
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« Reply #13 on: 20:23:22, 09-01-2008 » |
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Handy resource for this kind of thing, DB; it has saved me from having to confess my ignorance on many occasions! http://www.acronymfinder.com/afaik it's got iirc and lots of similar shorthand. Its main fault, imho, is that it often leaves you to choose from a bewildering list of alternatives for one acronym/initialism; but it's quite good at getting the most common ones near the top of each list. |
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Notoriously Bombastic
Posts: 181
Never smile at the brass
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« Reply #14 on: 22:15:51, 09-01-2008 » |
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Another helpful acronym is GIYF NB |
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