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Les Talens Lyriques, Christophe Rousset, Flemish Radio Choir – Louise Bertin: Fausto (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:05:38 minutes | 2,22 GB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Front Cover | © Bru Zane
It was around 1825 that Louise Bertin, pupil of Reicha and friend of Berlioz, tackled the subject of Faust with all the energy and confidence of a young woman of twenty. She entirely exceeded the public’s expectations and won over the critics with her daring. Colourful orchestration, charming cantabiles, vigorous choruses – everything seemed to promise the work would enter the repertory. But the closure of the Theatre-Italien after just three performances in 1831 decided otherwise, and the score languished in the vaults of the Bibliotheque Nationale de France for 190 years. The leading role, conceived for the mezzo-soprano Rosmunda Pisaroni, was finally created by the tenor Domenico Donzelli. In this complete recording with period instruments, Christophe Rousset presents the work in its original form, which has never been heard before, even in the composer’s lifetime. Once again, Les Talens Lyriques and the Palazzetto Bru Zane join forces in an adventurous French operatic rediscovery.
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Les Talens Lyriques, Flemish Radio Choir, Christophe Rousset – Spontini: La vestale (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 02:12:00 minutes | 2,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Bru Zane
The situation seems hopeless: the vestal virgin Julia is sentenced to be buried alive because she let the sacred fire go out when she declared her love to the commander Licinius; another sacrilege, because vestal virgins were obliged to absolute chastity in ancient Rome. But her execution is averted just in time by divine intervention; the sacred altar flame reignites itself, thus absolving the delinquent
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Les Talens Lyriques, Flemish Radio Choir, Christophe Rousset – Spontini: La vestale (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 02:12:00 minutes | 2,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Bru Zane
The situation seems hopeless: the vestal virgin Julia is sentenced to be buried alive because she let the sacred fire go out when she declared her love to the commander Licinius; another sacrilege, because vestal virgins were obliged to absolute chastity in ancient Rome. But her execution is averted just in time by divine intervention; the sacred altar flame reignites itself, thus absolving the delinquent
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Flemish Radio Choir, Brussels Philharmonic, Hervé Niquet, Les Siècles, François-Xavier Roth – David: Christophe Colomb & Musique de chambre, symphonique et sacrée (Portraits, Vol. 4) (2017)
FLAC (tracks) 24 bit/48 kHz | Time – 03:54:15 minutes | 2,19 GB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Front Cover | © Bru Zane
Each volume in the ‘Portraits’ series is devoted to a French composer who has now largely been forgotten. With performances by many talented artists, it presents a panorama of his works. The ‘Portrait’ of Félicien David aims to complement the discography already available with world premiere recordings of the composer’s works. Among these are a glimpse of his orchestral output, with the Symphony no. 3 and the Overture to his opéra-comique La Perle du Brésil, the work that really launched David on his operatic career. But it is above all Christophe Colomb (1847) that deserves mention, for this ode-symphonie with speaker was an ambitious follow-up to the success of Le Désert, performed at the Théâtre-Italien some years earlier. Nevertheless, this anthology does not forget that Félicien David was also a figure of the salons, admired for his intimate music and especially his songs. The programme therefore offers a chance to discover excerpts from the Mélodies orientales for solo piano, a selection of romances in the style of the 1840s, and the very rare early motets for chorus in varied scorings. The culmination of this Portrait is the restoration of Le Jugement dernier, which was intended as the concluding apotheosis of the opera Herculanum, but was finally deleted and has never been published until today. – Palazzetto Bru Zane / Ediciones Singulares
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Flemish Radio Choir, Brussels Philharmonic Orchestra, Hervé Niquet – Gounod: Cantates et musique sacrée (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 02:08:28 minutes | 2,05 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Bru Zane
An icon of French Romanticism thanks to the enduring popularity of his operas Faust and Roméo et Juliette, Charles Gounod competed three times for the prestigious Prix de Rome between 1837 and 1839. Thus he composed three unpublished cantatas for soloists and orchestra, including Marie Stuart et Rizzio and La Vendetta, which he never had the opportunity to hear in performance. Revealed for the first time, these three cantatas, fine examples of French Romanticism, show a young composer with a remarkable flair for opera. In the end Fernand won him the coveted prize, carrying with it the privilege of a three-year stay (from 1840) at the Villa Medici in Rome. While there he produced several sacred compositions, which have also remained unknown until now. His splendid Messe vocale for unaccompanied choir, written in a neo-Palestrinian style, deserves a place on the programme of every vocal ensemble.
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Orchestre de chambre de Paris, Hervé Niquet, Flemish Radio Choir – Halévy: La Reine de Chypre (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 02:34:38 minutes | 2,47 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Bru Zane
Berlioz wrote of Halévy’s La Reine de Chypre (1841): ‘Its success will at least equal that of La Juive. And Wagner added: ‘It is in La Reine de Chypre that Halévy’snew style hasappeared with themost brilliance and success.’ So several voices – and those by no means insignificant – have declared thiswork,written six years after LaJuive, to be its composer’s masterpiece. Premiered on 22 December 1841, Halévy’s opera offered the limelight to Rosine Stoltz in the title role: she was the only woman in the cast, for it had been found preferable to isolate her, following her incessant disputes with the other female singers in the company. Alongside her, the tenor Gilbert Duprez shone in the role of Gérard. The story takes the spectator on a voyage from the palaces of Venice to those of Cyprus. But despite an initial succe ss confirmed by seve ral translations and adaptations that appeared shortly after the first run (notably Lachner’s Caterina Cornaro in 1841 and Donizetti’s in 1843), the work gradually vanished from European opera houses.
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