Jules Massenet is famous for his series of 27 operas that include Manon and Werther, but he also wrote a significant portfolio of orchestral music which include ballets, orchestral suites and incidental music. The works presented here show his versatility and lyricism and include the one-act ballet Espada, saturated in Iberian color and beguiling rhythms, as well as Les Érinnyes (‘The Furies’) with a vivid sequence of contrasting themes. Modeled after Liszt, Visions is a poème-symphonique of both ethereal and dramatic power.

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REVIEW:

Between JoAnn Falletta and Jean-Luc Tingaud, Naxos seems to be cornering the market when it comes to unusual but worthy repertoire. Tingaud’s specialty, unsurprisingly, has (thus far) focused on French music, and this Massenet collection includes some pretty nifty and rare titles. Visions, for example, is a symphonic poem in Lisztian style dating from 1891, and it’s an imposing and impressive fourteen-minute hunk of good, romantic music. Brumaire is a powerful, militant overture that belies the composer’s reputation as little more than a soft orchestral voluptuary.

The Espada Suite is another in the seemingly endless series of French works with a Spanish flavor, and it’s none the worse for that. Best of all, perhaps, is the incidental music to Érinnyes (The Furies). Dating from 1876, this substantial half hour of music features an extended “Scène religieuse” and a three-movement divertissement full of memorable and vigorous ideas. The program concludes with the darkly dramatic overture Phèdre–like all of the music here very well played and conducted with real conviction. The sonics, too, do the music proud. I love this stuff, and I suspect that you will too.

– ClassicsToday.com (David Hurwitz)

Also available on Blu-ray

Sarah Lamb and Vadim Muntagirov star as tragic lovers Manon and Des Grieux in this performance of Kenneth MacMillan’s Manon, a classic of the Royal Ballet repertory. Nicholas Gerogiadis’s period designs set the ballet in the contrasting worlds of Paris Luxury and Louisiana swampland, while the intense emotion of MacMillan’s choreography is complemented by a score drawn from Massenet’s music. The impassioned pas de deux from Manon and Des Grieux drive this tragic story, and make Manon one of MacMillan’s most powerful dramas. “Kenneth MacMillan’s retelling of Abbe Prevost’s cautionary tale of a young man brought low by an amoral young beauty has been a mainstay of the Royal Ballet repertoire since 1974. The current revival is vividly played and danced by some first-rate casts.” (The Financial Times)

This recital by Jean-Francois Borras honours the fascinating history of the Opera de Monte-Carlo, the house that has performed more French repertoire than any other. Jean-Francois Borras, who received his initial training in the choir of the Monte-Carlo Cathedral and is an internationally-renowned ambassador of French vocal style, presents excerpts from works by Mascagni, Gunsbourg and Massenet that were composed for the Opera there. Raoul Gunsbourg was the director of the Opera de Monte Carlo (architect Charles Garnier) from 1893-1951 and the variety of his programming created the institution's exceptional renown. Borras sings arias from operas that he has performed on the stage of the Opera de Monte-Carlo, including Romeo et Juliette (Gounod), Manon, Herodiade, Werther (Massenet), Carmen (Bizet) and Les Contes d'Hoffmann (Offenbach), accompanied by the Orchestre Philharmonique de Monte Carlo under Pierre Dumoussaud, a young French conductor and specialist in operatic repertoire who is rapidly building an international career.

When more than 500,000 people gathered in New York's Central Park on 26 June 1993, they wanted to hear only one thing: The voice of the greatest tenor of the twentieth century: the voice of Luciano Pavarotti. A year earlier, Pavarotti had thrilled the crowds in London's Hyde Park - here, in New York, he confirmed once again that he is an undisputed world star. He is accompanied by the New York Philharmonic Orchestra under Leone Magiera, featuring the flutist Andrea Griminelli and The Boys Choir of Harlem, whose voices can be heard on albums of Michael Jackson, Kathleen Battle and many more. The recording of this concert, without doubt one of Pavarotti’s most celebrated performances, includes the famous Puccini arias Nessun dorma and E lucevan le stelle and Neapolitanian songs as 'O sole mio.' This legendary concert is now available for the first time on Blu-ray!

A ride through the tunes with music from the Baroque to the Modern Era

In this recital, Véronique Gens and Hervé Niquet bring back to life a neglected aspect of France’s Romantic heritage: songs with orchestral accompaniment. Aside from a few pieces by Debussy and Duparc, and Berlioz’s famous Nuits d’été, orchestral mélodies form a virtually forgotten continent. In collaboration with the specialists of the Palazzetto Bru Zane, Alpha now revisits these musical landscapes, taking us from Brittany (Hahn) to Persia, whose beauties Fauré and Saint-Saëns exalt in very different ways. Mélodies by Chausson, Gounod and Dubois and rarely heard instrumental pieces by Massenet, Fauré and Fernand de La Tombelle round out the journey with their musical reveries.

'The repertoire we have chosen for this album consists mainly of pieces that have been with me since my childhood.' With this recital, Johan Dalene, accompanied by Peter Friis Johansson, offers us a selection of popular violin pieces that have accompanied him since his early years. After hearing them in the family car on long journeys, he went on to learn them and then play them in competitions and in concerts. He Johan Dalene now gives us (and himself) a treat and continues the tradition of great violinists such as Heifetz, Perlman and Vengerov, who have all made recordings of favourite encores and recital pieces. Finally to record them himself proved to be an 'extremely inspiring and challenging project', says Dalene. The programme is built around three virtuoso works, Tzigane (Ravel), Introduction and Rondo capriccioso (Saint-Saens) and Carmen Fantasy (Waxman), alongside which more reflective pieces by Massenet, Tchaikovsky, Falla and Kreisler have been included. Also featured is a rarely played miniature by Swedish composer Amanda Maier - a work which, according to Dalene, 'is a gem full of spirit!' A programme that celebrates the multiple sides of the violin, at times virtuoso, at times lyrical, always seductive.

Deutsche Oper Berlin's production of Massenet's four-act version of Herodiade features an outstanding cast, including the Australian soprano Nicole Car and Canadian baritone Etienne Dupuis. This live recording from June 2023 is conducted by Deutsche Oper Berlin's principal guest conductor, Enrique Mazzola.

Flautist Ana de la Vega’s fourth PENTATONE album My Paris is a declaration of love to the glorious French capital and its rich flute history, as well as a trip down memory lane, featuring some of the greatest gems of French music history, including works by Debussy, Ravel, Fauré, Massenet, Saint-Saëns, Satie, Poulenc, Mozart, Chaminade, Lili Boulanger, Von Paradis, as well as Bizet. De la Vega plays these pieces with verve and charm, full of reverence to centuries-old French flute-teaching traditions to which she still feels deeply connected and absorbed. She performs them together with the esteemed pianist Paul Rivinius. Flautist Ana de la Vega’s presents her fourth PENTATONE album, after having released Bach Unbuttoned (2021), Haydn Stamitz (2020) and Mozart Myslivecek (2018). Paul Rivinius makes his PENTATONE debut.

Teatro La Fenice has a tradition of opera production that goes back to 1792. This collection brings all of the live atmosphere and drama of six operatic masterpieces from a theatre that has seen more than it's fair share of historic premieres. This set includes the 19th-century romance of Bizet's Les pecheurs de perles, the intense drama of Verdi's Luisa Miller, Britten's hauntingly understated Death In Venice, Massenet's tragic tale of love and redemption in Thaïs, Wagner's final opera Parsifal and Korngold's Die tote Stadt, one of the great operatic successes of the 1920s. An entire century's worth of opera can be seen and heard in these acclaimed productions from Venice's legendary venue.

If Massenet is best-known as the champion of French opera, his contribution to the genre of the mélodie merits reassessment - as is demonstrated by this programme of exquisitely orchestrated songs, all of which have remained in manuscript form. The Expressions lyriques form the pinnacle of these experiments, blending speech and song. The cycle Chansons des bois d'Amaranthe is also notable for the originality of it's scoring: a quartet of singers in dialogue with an orchestra animated by a voluble piano part.

Paris discovered Massenet's Griselidis at the Opera-Comique on 20 November 1901. The work is based on a medieval folktale retold by Boccaccio and Perrault, among others, and already set to music several times in the Baroque era. It gave Massenet the opportunity to handle the 'Gothic' colouring of which the early twentieth century could not get enough. The inventive libretto by Armand Silvestre and Eugene Morand explores unusually contrasted registers: the religious, the fantastical, the sentimental and the warlike. Above all, the presence of a scene-stealing Devil, saddled with a cantankerous wife, offers the possibility of contrasting the serious (or sublime) and the comic (or grotesque). Massenet thus produced a rare example of cross-genre equilibrium, a jewel of French demi-caractere, typical of the Opera-Comique repertory. Although the opera renounces spoken dialogue, theatrical declamation nevertheless creeps into a few particularly successful scenes. Two magnificent baritone roles - the Marquis and the Devil - oppose each other with the full trappings of Romantic vocality, while Griselidis makes a noble and introspective heroine, the perfect model of the French soprano.

Massenet's Werther is one of those masterpieces that were rejected or shunned at the time of their creation. Sketched in the 1880s, the score was turned down by the director of the Opera-Comique and had to make do with a premiere in German, far from Paris, before finally being heard in Paris in 1893. It gradually established itself as one of the composer's most personal works, in which he showed himself to be as fine a colourist as he was a master of the art of the 'motif de rappel'. In adapting Goethe's novel, Massenet and his librettists gave greater prominence to the character of Charlotte, thus placing the struggle between duty and passion at the centre of the narrative. The role of Werther, originally assigned to a tenor, was also sung by the baritone Mattia Battistini with the composer's approval. Provided the singer makes skilful use of voix mixte, this version gives the work a melancholy colouring ideal for portraying it's hero's suicidal temperament. Tassis Christoyannis follows this approach in exemplary fashion, opposite the reserved yet moving Charlotte of Veronique Gens. Both singers give the text the preponderant role allotted to it by French operatic tradition.

‘It would be difficult to find a simpler and more poignant subject’, Massenet remarked during the composition of Ariane, a vast score in five acts premiered at the Paris Opéra in October 1906. The libretto by Catulle Mendès is part ancient drama, part symbolist poem, and sets Phaedra and Ariadne, two sisters in love with Theseus, in violent conflict with each other. This epic work does not shrink from relating the combat against the Minotaur, from showing a ship tossed by the raging billows, nor even from transporting the audience to the Underworld where Persephone reigns. Despite its flamboyant orchestration, its grandiose scenography and its triumphant premiere, Ariane remains one of the few Massenet operas never recorded until now. The young Egyptian soprano Amina Edris takes the title role with ardour and passion, surrounded by a cast well versed in the specificities of the French style. The Bavarian Radio Chorus provides dedicated support in the epic scenes, under the baton of Laurent Campellone, a great champion of Massenet.

The dance permeated every layer of Romantic society. From popular dance halls to courtly salons, people showed their public face, enjoyed themselves and met one another in waltz time or to the rhythms of the quadrille or the polka. At the same time, ballet gained unprecedented fame on the stage of the Paris Opéra. The music that accompanied this frantic round in France has long been neglected, whereas the Viennese have never ceased to celebrate their waltzes. Under the expert baton of François-Xavier Roth, the orchestra Les Siècles has set out to rediscover this French repertory using historical instruments. Their album explores the output of both established composers – Camille Saint-Saëns, Ambroise Thomas, Charles Gounod, Jules Massenet – and their colleagues who specialized in Terpsichorean entertainment, including Philippe Musard, Isaac Strauss, Émile Waldteufel and Hervé.

REVIEWS:

Beautifully recorded and with Bru Zane’s customary excellent booklet notes, this is a disc to delight Francophiles, especially sweet-toothed ones like myself.

 -- Gramophone

There is a blowsy joie de vivre in these performances by Roth’s French Orchestra Les Siecles that is hard to resist.

-- The Sunday Times (UK)

It’s all very French, and presented with great flair and warmth by Roth and his orchestra.

-- The Guardian (UK)

Coming into French and English from the Greek elegos ('lament'), an elegy (elegie) is a poetic or musical composition expressing sorrow or lamentation, typically mourning the loss of a loved one or reflecting on themes of grief and melancholy. Massenet's famous 'Clair de lune', presented here in an arrangement by the composer himself, envelops us in a dreamlike atmosphere, with the piano painting a delicate lunar landscape permeated by a subtle melancholy. The original is one of the most touching scenes in the opera Werther, when the protagonist feels his love for Charlotte rising within him. Contrary to popular belief, Ravel's Pavane pour une infante defunte is not dedicated to a departed soul. Rather, it is a nostalgic evocation of an imaginary childhood, rich in charm and mystery. Joseph Jemain's orchestration adds, if possible, further depth and suggestiveness to Ravel's music by introducing the piano into the ensemble, the protagonist of Ravel's original version. The violin and piano engage in a dialogue of deep contemplation in Saint-Saens's elegie in D, Op.143. The poignant melody and refined harmony express feelings of loss and consolation. This very intense and moving piece has secured an important place in the violin repertoire. The cello assumes the role of narrator in Faure's elegie, Op.24 recounting a story of pain and hope with great expressive intensity. A highly lyrical and touching piece, it is distinguished by it's expressive writing and singable melody. Debussy's Suite bergamasque transports us to a world of dreams and suggestions. Through four evocative dances with a Renaissance and Baroque flavour, the orchestra leads us on a musical journey rich in charm and delicacy. Wilhelm Renz's orchestration makes Debussy's picturesque music even more vivid. Renz is also the arranger of the Saint-Saens Carnival of the Animals featured here. His orchestral version adds brilliance and colour to the composer's music while maintaining it's original spirit of fun and irony, streamlining the orchestration in some places and adding elements for a richer, more layered sound in others. Other information: - Recorded August 2023 in Anzio (Italy) - Booklet in English contains liner notes by Valerio Vicari and profiles of the orchestra and conductor - A beautiful program featuring French music from the turn of the 19/20th century, evoking a late-romantic and mildly impressionistic atmosphere in elegiac mood. - The works presented are Elegies by Saint-Saens (1835-1921), Faure (1845-1924), Vieuxtemps (1820-1881) and Massenet (1842-1912), the Suite Bergamasque by Debussy (1862-1918), Pavane by Ravel (1875-1937) and, to conclude in a more spirited mood, the Carnaval des Animaux by Saint-Saens. Several of the works are transcribed for an instrumental ensemble featuring flute, oboe, clarinet, bassoon, horn, violin, viola, cello & double bass. - Sensuous and evocative performances by the Roma Tre Orchestra, conducted by Sieva Borzak.

Eloise Bella Kohn is a rare artist: eclectic pianist, record producer, festival founder, committed to intercultural dialogue, her passion for music, dance and literature drives a creativity that nourishes her universe from baroque music to contemporary repertoire. Eloise Bella Kohn is one of the most promising artists on today's classical music scene, and performs all over the world in prestigious concert halls and festivals.

Torn between her desire of a life of splendour and riches and her devotion to her true love Des Grieux (Reece Clarke), the alluring and capricious Manon (Natalia Osipova) pays the ultimate price. MacMillan's adaptation of Abbe Prevost's novel L'Histoire du Chevalier des Grieux et de Manon Lescaut?embodies his acute insight into human psychology and his mastery of narrative choreography. This is MacMillan at his best; finding full expression in the impassioned duets of the central couple, visceral and urgent in their desire.

To mark the 150th anniversary of Bizet's death and the premiere of his immensely popular Carmen, Alpha Classics and Le Palazzetto Bru Zane now pay tribute to Celestine Galli-Marie, the singer who created the title role. A remarkable actress and singer, she created sixteen roles in fifteen years at the Opera-Comique, including Ambroise Thomas' iconic Mignon and Jacques Offenbach's Fantasio. Eva Zaicik is delighted to take on the roles created by such a colourful artist: 'Celestine embodied a certain idea of artistic and feminine rebellion. Her voice, charisma and unique theatrical approach brought to life characters who were free, complex and often struggled with the norms of their time.' Supported superbly by Pierre Dumoussaud and the Orchestre National de Lille, the French mezzo not only brilliantly embodies characters created by Bizet, Massenet, Offenbach and Thomas but also breathes new life into arias by Paladilhe, Poise, Deffes, Masse, Guiraud, Cohen and Grisar.

Love is the common thread running through this first recorded recital by soprano Vannina Santoni; it's also an opportunity to look back over her fifteen-year career, through her leading roles, alongside her favourite musicians. With the help of the Orchestre National de Lille and Quebecois conductor Jean-Marie Zeitouni, she places her sensual voice at the service of famous operatic arias featuring the amorous heroines of Gounod, Massenet, Puccini ('O mio babbino caro'), Catalini ('Ne andro' from La Wally) and Verdi (Desdemona's poignant 'Ave Maria' from Otello). The programme also includes a rare but sublime aria from Franco Alfano's Tolstoy-inspired opera Risurrezione (1904), as well as the magnificent 'Saint-Sulpice' duet from Massenet's Manon, with tenor Julien Dran. Finally, Vannina Santoni pays homage to her Corsican roots with a new orchestration of the lullaby 'O Ciucciarella' that Corsican mothers have sung to their children for generations.

Torn between her desire of a life of splendour and riches and her devotion to her true love Des Grieux (Reece Clarke), the alluring and capricious Manon (Natalia Osipova) pays the ultimate price. MacMillan's adaptation of Abbe Prevost's novel L'Histoire du Chevalier des Grieux et de Manon Lescaut?embodies his acute insight into human psychology and his mastery of narrative choreography. This is MacMillan at his best; finding full expression in the impassioned duets of the central couple, visceral and urgent in their desire.

Maria Callas is credited with changing the history of opera. Known as La Divina, she continues to fascinate as a supreme artist, but also as a woman and an icon of style. Her interpretations were as compelling for their dramatic truth as for their musical integrity. Her voice, with it's extraordinary range, was as distinctive as her infallible sense for a phrase. A magnetic presence, she brought operatic heroines to vivid life, magically shaping and colouring her tone, and making insightful use of the text of the libretto.

Classical Music

MASSENET: Orchestral Suites Nos. 1- 3 / Herodiade

MASSENET: Orchestral Suites Nos. 4 - 7