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Bizet - Carmen Gheorghiu · Alagna · Capitole de Toulouse · Plasson

10 janvier 2003 | EMI Classics | RapidShare

Interprète: Angela Gheorghiu, Roberto Alagna, Inva Mula, Thomas Hampson, Ludovic Tézier, et al.

Orchestre: Orchestre du Capitole de Toulouse

Chef d'orchestre: Michel Plasson

Compositeur: Georges Bizet

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& 8220;

After three decades of Carmen in opéra comique-style, each one offering its own brand of authenticity, here we are back in the 19th century with the old grand opera version, with the Guiraud recitatives, tacked on after Bizet’s death. This was the way Carmen was usually performed until the 1950s, when producers and scholars started to reconsider the original. As we now know, there is little chance of anyone arriving at what might be termed a definitive Carmen, and it has to be said that many singers and listeners prefer it with the recitatives, mostly because opera singers find handling the pages of unaccompanied dialogue very difficult. This isn’t the place to go into all the differences, great and small, that exist between the two approaches, but EMI have given us something unexpected here – the first recording of the aria composed for Carmen’s entrance. It was thought at the time to be unsatisfactory, so Bizet tried again, and produced the Habanera. Even so, it is said that Galli-Marié, the first Carmen, insisted on a dozen rewrites. Angela Gheorghiu sings it after the Habanera, as if for an encore. The words are almost identical in places and the music is not quite unknown as the theme was published in the Oeser edition of the score as part of a supplement. Winton Dean, in his biography of Bizet (Dent: 1975), calls it a ‘trivial and rhythmically impoverished little tune’. This seems rather harsh. In fact it’s reminiscent of Offenbach, and particularly of the song for Nicklausse in the Venice scene of Hoffmann. (Perhaps Bizet was trying to take advantage of Galli-Marié’s skills – she had just starred in Offenbach’s Fantasio.) Anyway, Gheorghiu sings it with much charm, and I’m very glad to have heard it. So to the main business: any Carmen depends on the contributions of conductor, soprano (or mezzo) and tenor. Michel Plasson draws some very fine playing indeed from the Toulouse orchestra, and his choice of speeds seems just left, never resorting to extreme effects. The one moment when things get a bit sluggish is in the Card scene, but I suppose he is letting Gheorghiu have as much breathing space as she needs; the chest tone she uses for the cries of ‘La mort!’ is amazingly forceful. She has set a precedent here, I think, being the first soprano ever to have recorded the roles of both Carmen and Micaëla (the latter for Sinopoli, Teldec 10/96). Her portrayal has little of the easy sensuality of such celebrated interpreters as Grace Bumbry or Teresa Berganza. The obvious comparisons are with two other famous Toscas, who, like Gheorghiu, had never sung Carmen on stage when they recorded it – Leontyne Price (for Karajan, RCA), and Maria Callas (for Prêtre, EMI). Gheorghiu and Roberto Alagna have obviously worked very hard to achieve some fine moments, a beautifully soft ending to ‘Là-bas, dans la montagne’, and an almost visible change of mood towards the end of the Séguedille, as Carmen begins to work her charms. Gheorghiu cannot help sounding rather imperious at times, and there is no exchange of remarks at the moment when she throws the flower; I miss the superb scorn that Callas brings to the exclamation at this point, ‘Epanglier de mon âme’. Alagna has done nothing better recently: he is really inside the character, and portrays the man’s descent into degradation. There is little sense of him pushing the tone – as in his Manrico – although his voice is much lighter than many other famous Don Josés (Corelli for Karajan, Domingo for Abbado, Vickers, on HMV Classics for Frühbeck de Burgos). This is all in his favour, though, for moments such as the beautifully realised ending to ‘Parle-moi de ma mère’. Other roles are well taken: Thomas Hampson presents Escamillo as a very jovial sort of fellow, Inva Mula as Micaëla is better in the Act 1 duet than she is in her aria. With Elizabeth Vidal as Frasquita and Nicolas Rivenq as Dancaïre, the cast is strong. The sound is uncomplicated, though Carmen’s castanets (some very classy playing) seem to be coming from quite a distance away from her. With dozens of Carmens available on disc, it’s impossible to recommend only one. This will be a pleasure for the many admirers of Plasson, Gheorghiu and Alagna. If you want a bargain Carmen, consider Berganza with Abbado (DG), or Bumbry with Frühbeck de Burgos, both with dialogue. If you like the old-fashioned recitatives, go for Resnik with Schippers, a particular favourite of mine, on Double Decca, the sound still impressive after 40 years. Some maintain that Solange Michel, in the historic Opéra-Comique set under Cluytens (EMI), is the best Carmen of all. Be that as it may, once I got to the final duet in this 21st-century Carmen, I was completely gripped – by Alagna, who, while sounding distraught, still manages to produce some lovely tone, and by Gheorghiu, who, though she may never sing the role on stage, is a remarkably dramatic lady-in-distress for the microphone. -- Patrick O'Connor, Gramophone [3/2003]

& 8221;

Disque : 1

1. Prelude - Michel Plasson

2. Sur La Place Chacun Passe - Joel Suhubiette

3. Regardez Donc Cette Pitite - Joel Suhubiette

4. Attention! Chut! Attenton! Taisons-nous! - Ludovic Tezier

5. Avec La Garde Montante - La Lauzeta, Choeur D'enfants De Toulouse

6. Une Jeune Fille Charmante...Et La Garde Descendante - Roberto Alagna

7. C'est Bien La, N'est-ce Pas - Roberto Alagna

8. La Cloche A Sonne - Angela Gheorghiu

9. Voyez-les! Regards Impudents...Dans L'Air, Nous Suivons Des Yeux - Angela Gheorghiu

10. Mais Nous Ne Voyons Pas La Carmencita!...Quand Je Vous Aimerai? - Angela Gheorghiu

11. L'Amour Est Un Oiseau Rebelle - Angela Gheorghiu

12. L'Amour Est Enfant De Boheme - Angela Gheorghiu

13. Carmen! Sur Tes Pas, Nous Pressons Tous! - Choeur 'Les Elements'

14. Quels Regards! Quelle Effronterie! - Roberto Alagna

15. Jose!...Micaela!...Parle-moi De Ma Mere! - Roberto Alagna

16. Reste La, Maintenant, Pendant Que Je Lirai - Roberto Alagna

17. Que Se Passe-t-il Donc La-bas?...Au Secours! Au Secours! - Nicolas Cavallier

18. Mon Officier, C'etait Une Querelle...Tralalalala, Coupe-moi - Angela Gheorghiu

19. Ou Me Conduisez-vous? - Angela Gheorghiu

20. Pres Des Remparts De Seville - Angela Gheorghiu

21. Voici L'Ordre; Partez - Nicolas Cavallier

Disque : 2

1. Entracte - Michel Plasson

2. Les Tringles Des Sistres Tintaient - Angela Gheorghiu

3. Messieurs, Pastia Me Dit... - Angela Gheorghiu

4. Vivat! Vivat Le Torero! - Angela Gheorghiu

5. Votre Toast, Je Peux Vous Le Rendre...Toreador, En Garde! - Thomas Hampson

6. La Belle, Un Mot - Thomas Hampson

7. Sortie D'Escamillo - Michel Plasson

8. Eh Bien! Vite, Quelles Nouvelles? - Nicolas Rivenq

9. Nous Avons En Tete Une Affaire - Nicolas Rivenq

10. Mais Qui Donc Attends-tu? - Nicolas Rivenq

11. Halte La! Qui Va La? - Nicolas Rivenq

12. Enfin, C'est Toi!...Je Vais Danser En Votre Honneur - Roberto Alagna

13. La-la-la-la...Attends Un Peu, Carmen - Roberto Alagna

14. Au Quartier! Pour L'appel! - Roberto Alagna

15. La Fleur Que Tu M'avais Jetee - Roberto Alagna

16. Non, Tu Ne M'aimes Pas - Roberto Alagna

17. Non! Je Ne Veux Plus T'ecouter! - Roberto Alagna

18. Hola Carmen! Hola! Hola! - Roberto Alagna

19. Bel Officer, L'amour Vous Joue - Nicolas Rivenq

20. ...Plus Tard!...La Guerre, C'est La Guerre! - Nicolas Rivenq

Disque : 3

1. Entracte - Francois Laurent

2. Ecoute, Ecoute, Compagnon, Ecoute - Joel Suhubiette

3. Notre Metier Est Bon - Nicolas Rivenq

4. Reposons-nous Une Heure Ici, Mes Camarades - Nicolas Cavallier

5. Que Regardes-tu Donc? - Angela Gheorghiu

6. Melons! Coupons! - Elizabeth Vidal

7. Voyons, Que J'essaie A Mon Tour - Angela Gheorghiu

8. En Vain Pour Eviter - Angela Gheorghiu

9. ...La Mort...Parlez Encor, Parlez Mes Belles - Angela Gheorghiu

10. Eh Bien?...Eh Bien?! Nous Essayerons - Nicolas Rivenq

11. Quant Au Douanier, C'est Notre Affaire - Nicolas Rivenq

12. C'est Des Contrebandiers - Inva Mula

13. Je Dis, Que rien Ne M'epouvante - Inva Mula

14. Je Ne Me Trompe Pas - Inva Mula

15. Quelques Lignes Plus Bas...Je Suis Escamillo, Torero De Grenade! - Thomas Hampson

16. Elle Avait Pour Amant - Thomas Hampson

17. Enfin Ma Colere...Quelle Maladresse - Thomas Hampson

18. Hola, Hola! Jose! - Thomas Hampson

19. Prends Garde A Toi, Carmen - Nicolas Rivenq

20. Toreador, En Garde! - Thomas Hampson

21. Entracte - Jean-Michel Picard

22. A Deux Cuartos! A Deux Cuartos! - Nicolas Cavallier

23. Les Voici! Voici La Quadrille! - Joel Suhubiette

24. Si Tu M'aimes, Carmen - Thomas Hampson

25. Carmen, Un Bon Conseil - Angela Gheorghiu

26. C'est Toi!...C'est Moi! - Angela Gheorghiu

27. Tu Ne M'aimes Donc Plus? - Angela Gheorghiu

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 10. April 2010, 11:26

Georges Bizet / Carmen, CD1

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 10. April 2010, 9:40

Georges Bizet / Carmen, CD2

Used drive : HL-DT-STDVDRAM GSA-H42L Adapter: 2 ID: 0

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Copy OK

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 10. April 2010, 9:34

Bizet / Carmen, CD3

Used drive : HL-DT-STDVDRAM GSA-H42L Adapter: 2 ID: 0

Read mode : Secure

Utilize accurate stream : Yes

Defeat audio cache : No

Make use of C2 pointers : Yes

Read offset correction : 667

Overread into Lead-In and Lead-Out : No

Fill up missing offset samples with silence : Yes

Delete leading and trailing silent blocks : No

Null samples used in CRC calculations : No

Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines

Sample format : 44.100 Hz; 16 Bit; Stereo

TOC of the extracted CD

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Copy OK

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End of status report

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Rating:
2.5 out of 5 by Book123