Paul Dukas
ARIANE ET BARBE-BLEUE

Barbe-Bleue – José van Dam
Ariane – Jeanne-Michèle Charbonnet
Nurse – Patricia Bardon
Sélysette – Gemma Coma-Alabert
Ygraine – Beatriz Jiménez
Mélisande – Elena Copons
Bellangère – Salomé Haller
Alladine – Alba Valldaura

Liceu Grand Theater Chorus and Orchestra
Stéphane Denève, conductor

Claus Guth, stage director

Recorded live at Gran Teatre del Liceu, June and July 2011

Picture format: NTSC 16:9
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Catalan, Japanese
Running time: 120 mins
No. of DVDs: 1

Paul Dukas is almost entirely known for his popular tone poem 'The Sorcerer's Apprentice'. This work is, of course, included in this release; however, these discs also offer several larger sclae works, including his impressive Symphony in C major and the Overture Polyeucte as well as the delightful ballet La Péri. Three examples of his rarely performed but no less impressive piano music are performed powerfully by Margaret Fingerhut who received lustrous reviews on the original release. The music of Dukas is highly colourful and atmospheric, demonstrating his somewhat eclectic inspirations, which included Wagner and Franck, as well as the beauty of classical form. There have been relatively few recordings of the Symphony in C major and it is not commonly performed outside France. 'The rumbustious end to the first movement, with some superb brass and vigorous percussion, is a moment to be savoured', wrote Gramophone. The rarely recorded Polyeucte overture is a powerful work in five sections. In the work of Dukas, the Orient was the most seductive foreign influence, as demonstrated in La Péri, his last major work, written for Diaghilev in 1912. Yan Pascal Tortelier is famous for his interpretations of French music and plays this music with idiomatic flair. This bargain two-CD set, which includes the main orchestral and piano mastpieces of Dukas, is an ideal summation of the achievement of this wonderful composer.

Paul Dukas--an unfairly overlooked composer because he left for posterity a total of only 12 works--makes a significant reappearance with this sumptuous recording by Leonard Slatkin and the Orchestre National de France. The first piece on this CD, the composer's only symphony, is a bustling work that calls to mind the music of Franck with just a hint of the propulsive dynamism of Beethoven. The "Fanfare," a grand flourish of orchestral brass, precedes the composer's last work, the ballet 'La Peri.' A work of sublime beauty, 'La Peri' combines the composer's formal, classicist tendencies with the ravishing impressionism of his contemporaries, Debussy and Ravel. 'L'Apprenti sorcier,' "a symphonic poem after a ballad of Goethe" is Dukas' most popular work. Full of wandering key signatures, swirling string sections and an array of colorful and humorous effects, this mischievous work has understandably proven itself to be the most endearing of Dukas' unfortunately scant output.

Classical Music

DUKAS: Piano Sonata / Variations on a Theme of Rameau

Dukas’ three major orchestral works make a logical and satisfying single program, and they are very well performed and recorded on this fine new disc from Naxos. There’s no guarantee, of course, that a French conductor will do especially well in French music, and no doubt Jean-Luc Tingaud does not wish to be pigeon-holed or limited only to the music of his countrymen, but he does play all three pieces with a certain idiomatic flair that’s both quite memorable and often excitingly fresh.

The Sorcerer’s Apprentice, which opens the program, receives a swift and brilliant reading, but also one notable for its naturalness and unforced musicality. Right from the start, in the slow introduction, you will register the way that Tingaud and the RTÉ wind players skillfully build long phrases from Dukas’ melodic fragments, and ensure that the tension never sags. The climaxes also are perfectly judged. La péri, with its opening fanfare brilliantly played, never lapses into the sort of droopy languor that tempts other artists into overindulgence: the music has both rhythm and impetus as well as lusciousness.

This reading of the Symphony in C major may be the most impressive performance of all. The opening movement is really gripping, and the long coda, which can sound like an artificial appendage, builds in energy right through to the final bars. Kudos to the orchestra for keeping up with some pretty hard-driving conducting here. The central Andante also is beautifully shaped and truly “espressivo”, but with no dead spots, while the lively finale offers a very satisfying conclusion. Although there is no shortage of available recordings of these works, or even discs that present them together, this one is as good as any, and better than most. Give it a shot.

-- David Hurwitz, ClassicsToday.com

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Ariane et Barbe-bleue makes its premiere on Blu-ray.

Stéphane Denève is universally acclaimed for his interpretation of French repertoire.

This is the twelfth release from the Liceu-Opus Arte partnership.

Dukas's opera Ariane et Barbe-bleue, based on Maeterlinck's symbolist version of the classic tale, sees free spirit Ariane become the sixth wife of the infamous Barbe-bleue, who gives his new bride seven keys to seven doors, but prohibits the use of the last. Ariane discovers an array of glittering jewels behind the first six doors, but a terrifying reality awaits her as she unlocks the seventh.

José van Dam is cast as the villainous Barbe-bleue, while taking on the immensely demanding role of Ariane - who does not leave the stage throughout the entire opera - is American soprano Jeanne-Michèle Charbonnet.

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Reviews:

Charbonnet copes well with the extreme demands of Ariane, while Patricia Bardon is excellent as the nurse and it is wonderful to have Jose van Dam for Barbe-Bleu's handful of lines. Most of all, Stéphane Denève's pacing and handling of orchestral texture are spot-on.

– BBC Music Magazine

Charbonnet stands up remarkably well to the role's non-stop demands. As her nurse, Patricia Bardon is admirable in a role she has rather made her own on stage and disc. Dukas's opera deserves to be heard.

– Gramophone

Paul Dukas
ARIANE ET BARBE-BLEUE

Barbe-Bleue – José van Dam
Ariane – Jeanne-Michèle Charbonnet
Nurse – Patricia Bardon
Sélysette – Gemma Coma-Alabert
Ygraine – Beatriz Jiménez
Mélisande – Elena Copons
Bellangère – Salomé Haller
Alladine – Alba Valldaura

Liceu Grand Theater Chorus and Orchestra
Stéphane Denève, conductor

Claus Guth, stage director

Recorded live at Gran Teatre del Liceu, June and July 2011

Picture format: 1080i High Definition
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Catalan, Japanese
Running time: 120 mins
No. of Disc: 1 (Bl-ray)

Piano Music: Grand-Mondain

Enchanting tales and timeless legends are the common threads running through this album conceived by Duo Jatekok: Na�ri Badal and Adela�de Panaget are transformed into sorceresses on four hands and two pianos - enchanting guides who lead us through a programme featuring a Faustian pact, magic, and the world of childhood. At it's heart is Liszt's Piano Sonata, brilliantly transcribed for two keyboards by Saint-Saens: 'It illustrates the eternal struggle between the hubris of excess and the tragic fall, between light and darkness', say the duo of this 'Faustian' masterpiece by Liszt, a great admirer of Goethe. In a more carefree but equally fantastical vein is the famous Sorcerer's Apprentice, which Paul Dukas himself transcribed in 1898. The trance-like atmosphere and frenzied dancing continues with Manuel de Falla's El amor brujo (Love the magician). Finally, Mussorgsky's Night on the Bare Mountain, a 'danse macabre between the world of the living and that of the spirits', rounds off this supernatural odyssey.

A new recording of all the major works for piano by a foundational figure in French music of the early 20th century. Born in 1865, Dukas could have (and probably did) compose a good deal literally and stylistically in the 19th century, but his fastidious craftsmanship and self-criticism saw him burn far more music than he allowed to survive. All of a sudden, on the turn of the new century, he wrote two large-scale works which bring together a reverence for the recent and long-gone past with bold new thinking of how to write for the piano. Begun in 1899, the Variations take an innocent dance theme by Rameau and subject it to a dazzling sequence of treatments coloured by strict counterpoint, dreamy rhapsody and a Lisztian scale of piano writing. Even more ambitious and contrapuntal in its workings is the 40-minute Piano Sonata which has long been regarded as a summit of fin-de-siècle piano writing. The Sonata has often been compared to Beethoven’s Hammerklavier Sonata for its colossal dimensions, its structural complexities and its tightrope virtuoso writing. Dukas himself later discussed its journey in terms of a symbolic victory over ‘the beast within’, and ‘the triumph of Apollo over the Pythian serpent’. Vincenzo Maltempo follows in the footsteps of virtuosos such as Michel Ponti and Marc-André Hamelin, and shows himself equipped for the task, having already accumulated a critically acclaimed catalogue of hyper-virtuoso repertoire on Piano Classics, including five albums of Alkan, the Hungarian Rhapsodies of Liszt and the complete Sonatas of Scriabin. He possesses the virtuosity to burn which this music demands, but also the poetic sensibility to bring the most subtle nuances of colour to bear on two miniatures from much later in Dukas’s career, a Prélude in memory of Haydn and a deeply felt tribute to the memory of Debussy which makes haunting reference to the Prélude à l'après-midi d'un faune.