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Albéric Magnard : Guercoeur (Coffret 3 CD)

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Détails sur le produit

  • Interprète: José van Dam, Hildegard Behrens, Gary Lakes
  • Orchestre: Orchestre National du Capitole de Toulouse
  • Chef d'orchestre: Michel Plasson
  • Compositeur: Albéric Magnard
  • CD (4 juin 2012)
  • Nombre de disques: 4
  • Label: EMI Classics
  • ASIN : B007SAP7LC
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
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Descriptions du produit

La collection de référence accueille 2 raretés de l'opéra français en juin : Guercoeur d'Albéric Magnard, et Hérodiade de Jules Massenet, tous deux enregistrés par le grand chef lyrique Michel Plasson et son orchestre du Capitole de Toulouse, avec un José Van Dam impérial. On retrouvera aussi avec plaisir le légendaire Faust de Boris Christoff sous la direction d'André Cluytens ; la très belle version d'Andrea Chénier de Gabriele Santini, qui dirige Franco Corelli au sommet de forme ; le Così fan tutte historique d'Otto Klemperer, où Margaret Price connut un véritable triomphe avec son interprétation de Fiordiligi ; ou encore les célèbres Vêpres siciliennes de Verdi par Riccardo Muti et l'orchestre de la Scala, et Cheryl Studer. Plusieurs enregistrements sont proposés pour la 1re fois en mid price, outre Guercoeur : Deidamia de Haendel par Alan Curtis et son ensemble Il Complesso Barocco, Il Trittico de Puccini par Antonio Pappano avec notamment le couple mythique de Roberto Alagna et Angela Gheorghiu, et Ariane à Naxos de Richard Strauss par Kent Nagano et l'Orchestre de l'Opéra de Lyon, avec la prestation éblouissante de Margaret Price.


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Par jean-marie lambert TOP 500 COMMENTATEURS le 14 juillet 2012
Format: CD
Enfin rééditée,une très grande oeuvre d'Albéric Magnard,dont Plasson nous a d'ailleurs donné les exceptionnelles quatre symphonies.
Une distribution de rêve (Van Dam,Behrens,Lakes...)au service d'une oeuvre exigeante dont le livret est d'un niveau littéraire...et politique peu commun,traduisant l'engagement personnel d'Albéric Magnard,républicain et dreyfusard.La musique est superbe,très originale dans le paysage de l'époque (ni wagnérisme,ni debussysme...)et retient la leçon de la grande forme beethovénienne.
Une réédition attendue,témoin d'une époque où les compagnies de disques (EMI France en particulier)n'hésitaient pas à défricher des pans entiers du grand répertoire en y mettant les moyens...et en s'appuyant sur des chefs comme Michel Plasson,courageux et engagés dans la défense et illustration de notre culture musicale.
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Par emji VOIX VINE le 4 septembre 2012
Format: CD Achat vérifié
Un immense chef d'oeuvre retrouvé de la musique française; c'est la première impression que l'on a dès le début de cette écoute.

Michel Plasson, à la tête de son National de Toulouse a énormément oeuvré pour le patrimoine musical français des XIXe et début du XX e siècles. Que de chefs d'oeuvres de notre histoire de la musique française ont été redécouverts grâce à lui !
Aujourd'hui reparaît enfin après une dizaine d'année d'absence au catalogue (!), cet enregistrement d'un opéra d'Albéric Magnard : Guercoeur.

Ouvrage à la hauteur de vue rarement égalée sur une scène de théâtre :
Les personnages ont pour nom Vérité, Bonté, Beauté, Douleur...
Le sujet est extrêmement poignant dans sa grandeur : un homme -un héros - mort en pleine gloire, laissant sur Terre une femme aimée, un peuple heureux, et un ami fidèle. Mais le héros ne peut accepter une Paix éternelle sans savoir si sur cette Terre bien aimée tout est toujours pour le mieux. Vérité accepte de le renvoyer sur cette Terre trop aimée.
Mais il n' y trouvera plus alors que désolation, déception et amertume.
Mourant à nouveau, il rejoindra les Allégories qui l'accueillent pour une Paix cette fois éternelle.

Pour traiter ce sujet hors norme (quoique rappelant "Le Roi de Lahore" de Massenet ), Magnard va faire appel à un immense orchestre à l'écriture mâle et altière.
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Amazon.com: HASH(0x9f69ce34) étoiles sur 5 6 commentaires
16 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9f487b34) étoiles sur 5 A fascinating opera that should baffles us as to its neglect. 7 juin 2012
Par David Anthony Hollingsworth - Publié sur Amazon.com
Format: CD
French operas, like Russian and Scandinavian ones, have been, for the most part, unlucky both in recordings and on stages for quite a long time, and as Albéric Magnard's "Guercoeur" firmly demonstrates, this unfortunate phenomenon has become exceedingly difficult to understand why. Of course Bizet's "Carmen" is arguably the most popular French opera today, and yet Berlioz's "Les Troyens", to me, measures up to it decisively, perhaps even exceeds it (Berlioz's revolutionary, far-seeing way with music never ceases to amaze me). Massenet's "Werther" shows up occasionally in theatres and there are a number of fine recordings to choose from (though I swear up and down his "Esclarmonde" and "Herodiade" are to me more interesting and gripping). Debussy's "Pelleas et Melisande" is likewise not a stranger, though I find Dukas' "Ariane et Barbe-Bleue" marginally more rewarding (Dukas' way with the orchestra was always his chief asset). Lalo's interestingly melodramatic "Le Roi d' Ys" was performed around 500 times between its 1888 premiere and the 1950s before its virtual disappearance since then. And yet it was Leon Botstein who showed us what we were missing in his much talked about 2008 concert performance of it with the American Symphony Orchestra (Eve Queler, who gave a robust presentation of the work with the Opera Orchestra of New York at Carnegie Hall in 1985, was present). But with the strengths of Magnard's work and a superb presentation by Plasson and company, one can only hope that this re-issue, providing that it will stick around, will goad theatre companies to take this work on. Leon Botstein maybe? The maestro who gave that compelling performance of Lalo's opera and who made excellent recordings of Dukas' "Ariane" and Chausson's "Le Roi Arthus"? Hopefully.

The fascination of "Guercoeur" lies not just in the music itself, which is very well wrought dramatically for both voices and orchestra, profoundly lyrical, and richly scored that often reveals its roots in d'Indy (Magnard's teacher) and in Wagner (for which Magnard made no apologies). But, the fascination also lies in its close parallelism to Magnard personality and beliefs, to the events and changes in attitudes by the time the opera was written (1897 through 1901), and to some of the relevance this work manages to achieve, both historically and currently. The allegorical story of "Guercoeur" is as follows. The setting is in some obscure, unnamed city-state during the Middle Ages. Guercoeur is a noble hero, a visionary ruler, who had freed his people from tyranny. But he died and is transcended to Heaven discontented. In Heaven for two years, he pleads with the Supreme Being (a female personification of Truth or Vérité) to be allowed to return to Earth. She, with the intervention of Goodness (Bonté) and Beauty (Beauté), agrees to let him descend to the "world of illusions", but with the stipulation that Suffering (Souffrance) should accompany him, so as to make him humbled and purified. Guercoeur is thankful and praised Truth for the miracle. His thoughts turned to his wife, Giselle, and his people. But Giselle, who forsworn her oath of fidelity, has found a new lover, Heurtal, Guercoeur's former disciple and friend. Guercoeur is hurt, but forgives her. But he finds himself dismayed at Heurtal's thirst for power for himself and at the people's clamoring for a return to dictatorship, clearly contrary to his ideals and ultimately his sacrifice he made on their behalf. Guercoeur, though hurt by this, appeals to the people to embrace freedom or risk slavery (shades of "Ariane" here). But it was done in vain as the people turned against him and killed him in a mob fury. Bitterly betrayed, he returns to Heaven regretful, bitter in his realization that everything he had done was in vain. Truth tells Guercoeur that oblivion will free his being and expresses her feelings for the future when mankind must develop in love and freedom, when there will be the mingling of the races and languages that will make Man value peace.

That last sentence of the previous paragraph was Magnard at his hopefulness, even though he was implacably realistic about humanity. He was a withdrawn, uncompromising, austere misanthrope (one who hates and or mistrusts humankind) yet who was also a political idealist who sided with Dreyfus and wrote, in 1902 "Hymne à la Justice" for his cause. He yearned for a better and just world, but increasingly found reasons for that to not happen (indeed the events and changing attitudes by the turn of the Twentieth Century led to not one, but two Great World Wars plus the resulting Cold War that restricted freedom for most people than elevated it). And there are other examples like these. So, through his opera, the composer clearly had a point and it is a close, I would say, honest, unpretentious reflection of himself, his persona, his beliefs, his misgivings.

Yet it goes broader than Magnard's worldview. However banal the libretto is in places (that Magnard incidentally wrote himself), the moral and political symbolism and relevance manage to be pretty well achieved here. Yes we were told of the differences between good and evil, of the importance to be inquiring and fight for freedom, for humankind's fundamental need to acquire knowledge, to be enterprising, to be independent especially in thought and creative impulses (as from Scott Joplin's "Treemonisha" for instance). And yet in hundreds of years before this opera was written and over a century afterwards, millions of people were and still are living in controlled regimes. And even in freer societies, political, social, and economic opportunisms continue to be forces to reckon with (along with the reality of the extent people will fight to preserve what's their self-interests and often at all costs). Magnard's opera is one of those "See what I mean? I told you so" of a theatrical work. But its artistic sincerity from reflections of all that went on before and during the composer's lifetime is for real and yet another reminder of what art is.

The real value of the opera is that artistic sincerity, and the extremely well written, compelling music used to shape and convey that quality, that virtue, despite the banality in the libretto (much of it in the crowd scenes incidentally). Think what you will about this score, but the outstanding contribution by all involved may well compel you towards that conclusion. Michel Plasson conducts with plenty of impetus and bite (there is not a dull moment to be found and his pacing is ideal and sensitive throughout). The Orchestre National du Capitole de Toulouse responds superbly for him and the Orfeón Donostiarra (chorus) is good and effective, if hardly penetrating. The singing is uniformly strong up and down the casting list. José van Dam is an excellent Guercoeur, with all the sensitivity and nobility one could wish for in the title role. Hildegard Behrens, whom I always greatly admire especially for her Wagner roles like Brünnhilde and Isolde, sings Truth (Vérité) with authority, firmness, and alluring femininity. And Gary Lakes, a great Wagnerian tenor himself, portrays Heurtal as a headstrong opportunist pretty convincingly. The recording is nicely atmospheric though a tad distant and the presentation is respectable (annotations and libretto are only accessible via CD-ROM - no booklet). In the final analysis, this re-issue is very important yet successful and many thanks are owed to EMI for bringing forth the unexplainable obscurity of Magnard's very fine operatic achievement.

Ardently recommended.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9f491f0c) étoiles sur 5 A Reverent Treatment 12 novembre 2012
Par AndrewCF - Publié sur Amazon.com
Format: CD Achat vérifié
I first heard the music of Alberic Magnard in the 70s; it was the performance of the Symphony No. 3 conducted by Ansermet (with a less than perfect Suisse Romande Orchestra) that enchanted me. This performance is still available on an Australian Eloquence (Decca) set. It is no surprise that Magnard is virtually unknown since his career was so brief (as was his life) and he is never performed in the concert hall. Those who know and appreciate Magnard know that his life was ended defending his home in 1914 from the German forces of WWI. Many of his manuscripts were lost in the resulting inferno. He was championed by his friend, the composer Guy Ropartz, who orchestrated from memory the first and third acts of Guercoeur. Both Ropartz and Magnard have been called the French Mahler, in part because of the personal nature of their music.

In Guercoeur, the influence of Franck and Wagner is easy to discern - there is a straight arrow from Parsifal to this opera. The only real interaction between actual characters occurs in the second act. Guercoeur, a fallen war hero, appeals to a deity (or symbolic figure), Truth, to be returned to Earth to fulfill the destiny from which he feels he has been unfairly cut short. Though warned that the bliss he yearns for does not exist on Earth, he is sent back to become self-aware of the shortcomings of humanity. His beloved wife has given herself to his comrade, Heurtal, but Guercoeur forgives her; Heurtal has become a brutal dictator who thrives on the adoration of the people. Those that Guercoeur once led turn on him, and he returns to heaven chastened.

Michel Plasson's treatment of the opera will not win it many more friends; while reverent and very well played by his Toulouse orchestra, the pace is deliberate, even plodding at times. This tempo makes the most of the beautiful, heavenly music, but it is an anathema to stage action. Alas, this is the only extant version. The singing is mostly magnificent: Jose Van Dam is passionate and sings gorgeously as Guercoeur, Hildegard Behrens is stately and manages her high notes thrillingly as Truth (Verite), Gary Lakes is fiery as Heurtel, and Nadine Denize is touching as Giselle, the wife of Guercoeur.

Those seeking to get more acquainted with Magnard are urged to purchase the Helios set of the four symphonies conducted by Ossence. It is better than Plasson's fine set, and at a discounted price.
7 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9f491168) étoiles sur 5 Interminable 6 octobre 2012
Par Ralph Moore - Publié sur Amazon.com
Format: CD
Amazon.com review David Anthony Hollingsworth has a written a long, erudite and persuasive review extolling the virtues of this recording and an appreciation of the opera in general; I hope I may be allowed the privilege of an open forum to disagree with him respectfully and reluctantly, insofar as I am not the least surprised by its neglect even though I heartily endorse his championing of previously celebrated French operas now fallen into desuetude.

I do not, in all honesty, hear much that persuades me this is a neglected masterpiece. It has a romantic and worthy history, being very much sui generis in content and theme, despite its partial indebtedness to Wagner, having had to be resurrected by the devotion of the composer's friend, who reconstructed the score of Acts 1 and III from memory once they had been lost in a fire.

My problem is primarily with the lack of variety and the determined portentousness of the music itself. It is beautifully scored but so monochrome in mood that after the first fifteen minutes I found myself desperate for musical relief, which finally arrived in the shape of Jean-Luc Viala's aria for the poet in paradise. For the most part, I can detect little in the way of shape or melody; the music meanders along aimlessly, shepherded by a succession of impressionistic gestures but remaining essentially moribund. It makes for a very long three hours. Of course, my reaction is very subjective and others seem to hear something I cannot, but nor can I say that the fairly simplistic human story, sandwiched between two Acts stuffed with allegorical characters representing various virtues and traits such as Truth, Goodness, Beauty and Suffering, really enthrals me; I prefer my moral attributes to be operatically enshrined in the depiction of real characters. Some might fairly condemn the libretto as more pretentious than anything Hofmannsthal and Strauss ever penned; certainly I'd prefer the dynamism and moral resonance of FROSCH any day.

The Wagnerian introduction is grand and slow-moving but hardly of a character to justify the conferring upon Magnard by some the title of "the French Bruckner"; his music is far more static and devoid of momentum. True, it shares a devotional ambience and a preponderance of massive blocks of polychromatic sound with minor key cadences and this quality is intensified by the resonant acoustic of the Toulouse recording venue: the Halle des Grains.

My other reservations centre upon the singing rather than the music itself. Not that José van Dam is anything other than vocally superb and commanding and my admiration extends to several other singers, including the intense, vibrant Hildegard Behrens and the rich, steady Nathalie Stutzmann. However, the other French lady singers in the cast, including those who impersonate the abstract beings and Nadine Denize are generally rather shrill and blowsy, while Gary Lakes' tenor is harsh and edgy. The choir, the Orfeón Donostiarra, is decidedly inconsistent, with some squally sopranos and several instances of poor intonation throughout.

As French fin de siècle operas go, this one went; I would far prefer to champion the revival of Chausson's "Le roi Arthus" than this lumbering and oh-so earnest work. I readily concede that others think differently but for all that I always wanted to like this opera, it left me bored.
2 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9f4ab0f0) étoiles sur 5 A deeply rewarding work 1 novembre 2013
Par G.D. - Publié sur Amazon.com
Format: CD Achat vérifié
Magnard's three-act opera Guercoeur was one of three he wrote, and I wonder whether Yolande or Bérénice exists in performable versions - Guercoeur is such a splendid piece that it is surely worthwhile to look into the matter. Guercoeur was at least mostly written between 1897 and 1901 but the score was partially destroyed during World War I, and the version we hear was reconstructed by Ropartz (and first performed in 1931). Musically, it is definitely post-Wagnerian, but the late romantic language is certainly tempered by the kind of lush sensuousness found in Massenet or Chausson or d'Indy - though Magnard's own voice and harmonic language is rather distinctive. Indeed, even the heavily symbolist story is - admittedly remarkable for an opera - rather fascinating (though Magnard - he wrote the libretto himself - couldn't manage to avoid a fair share of banal moments).

I suppose one looks in vain for really singable tunes in the opera, but there are plenty of remarkable ideas, skillfully and effectively developed, and the work - long as it is - carries a certain deep momentum that makes the long, shimmering, final scene all the more breathtaking in its beauty. Yes, much of the music relies on atmosphere and color to make its point, and superficially the atmosphere is generally one of slightly distant resignation. But the powerful subtext of hope, glowing passion and spirit is hard to miss, and there is ample dramatic tension beneath the surface. And yes, Magnard sometimes takes his time to make his points, but he definitely knew what he was doing. In short, this is pretty remarkable, mesmerizing, evocative work, fully worth much more attention than it has thus far received.

I suppose Michel Plasson and the Orchestre National du Capitole du Toulouse took a chance by adopting what overall strikes one as rather slow tempi. With music that relies to such large extent on evocative beauty and long, meditative scenes such an approach would easily jeopardize the dramatic nerve of the work. To my ears, however, Plasson appears to succeed, partially of course because his orchestra is able to deliver such an array of subtly variegated colors and gorgeous textures, and there is, in fact, plenty of verve, passion and drive in the performance. It is all also captured in nice, warm sound.

The soloists are also convincing. Hidegard Behrens is, as usual, almost uncannily able to combine sensuous seductiveness with a sense of authority, and her singing is wonderful. José van Dam in the title role is simply superb. Nadine Denize is perhaps a little one-dimensional (which may not be the singer's fault, really), but her beautifully sung portrait is nevertheless touching. Gary Lakes, on the other hand, gives a vivid portrait of Heurtal, and although the performance might be stronger on character than refinement I have really no complaint about the latter either. Overall, this is a remarkable work, and the performances are overall splendid. Very strongly recommended.
HASH(0x9f4ab450) étoiles sur 5 excellent 25 février 2014
Par Nom de plume - Publié sur Amazon.com
Format: CD Achat vérifié
This opera is in the high romantic style with restraint, fine choruses, and a kind of winding, sinuous texture like Wagner-lite but not light in quality.
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