Hector Berlioz: Harold en Italie, Les Nuits d'été Les Siècles, François-Xavier Roth, Tabea Zimmermann & Stéphane Degout
- Hector Berlioz (1803 - 1869): Harold en Italie, Op. 16, H. 68:
- 1Harold en Italie, Op. 16, H. 68: 1. Harold aux montagnes. Scènes de mélancolie, de bonheur et de joie. Adagio (Live)15:14
- 2Harold en Italie, Op. 16, H. 68: 2. Marche de pèlerins chantant la prière du soir. Allegretto (Live)07:51
- 3Harold en Italie, Op. 16, H. 68: 3. Sérénade d'un montagnard des Abbruzes à sa maîtresse. Allegro assai (Live)05:58
- 4Harold en Italie, Op. 16, H. 68: 4. Orgie de brigands. Souvenirs des scènes précédentes. Allegro frenetico (Live)11:37
- Les Nuits d'été, Op. 7, H. 81B:
- 5Les Nuits d'été, Op. 7, H. 81B: 1. Villanelle, H. 8202:12
- 6Les Nuits d'été, Op. 7, H. 81B: 2. Le Spectre de la rose, H. 8306:40
- 7Les Nuits d'été, Op. 7, H. 81B: 3. Sur les lagunes, Lamento, H. 8405:43
- 8Les Nuits d'été, Op. 7, H. 81B: 4. Absence, H. 8505:45
- 9Les Nuits d'été, Op. 7, H. 81B: 5. Au cimetière, Clair de lune, H. 8605:41
- 10Les Nuits d'été, Op. 7, H. 81B: 6. L'Île inconnue, H. 8703:37
Info for Hector Berlioz: Harold en Italie, Les Nuits d'été
A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary.
"Berlioz orchestrated Les Nuits d'été op 7 for different voice types, though they are usually done by female singers, so there is no reason per se why they can't be tackled by men ; tenors have done them fairly frequently in the past. On this recording, paired with Harold en Italie, a male voice extends the idea of a "hero" bravely venturing forth. In any case, Stéphane Degout has the range and finesse. Indeed, a stronger, deeper voice highlights the punching rhythms in "Villanelle", and brings out the erotic allure in the line "Et dis-moi de ta voix si douce :'Toujours'.” The resonance of Degout's timbre also works well with the more elaboarate orchestration of "Le spectre de la Rose", which includes prominent parts for cello, clarinet, flute and harp. Berlioz orchestrated "Sur les lagunes" for baritone, so the fit between voice and the flowing "water" sounds in the orchestra. A soaring "Ah ! sans amour s’en aller sur la mer !". "Absence" is followed by a very good "Au Cimetière – Clair de Lune" where Degout restrains the inherent power in his voice, suggesting mystery. A stylish "L'île inconnue", further proof that it is not so much voice type that makes these songs work, but artistry." (Anne Ozorio, www.operatoday.com)
Stephane Degout, baritone
Tabea Zimmermann, viola
Francois-Xavier Roth, conductor
No albums found.
No biography found.