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Adam: Le Corsaire

Adam: Le Corsaire

1 janvier 1992
5.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Conductors: Richard Bonynge
  • Date de sortie d'origine : 1 janvier 1992
  • Date de sortie: 11 décembre 2006
  • Nombre de disques: 2
  • Label: Universal Music Division Classics Jazz
  • Copyright: ℗© 1992 Decca Music Group Limited
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:10:24
  • Genres:
  • ASIN: B0025BGOK2
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 56.331 en Albums (Voir les 100 premiers en Albums)

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Format: CD Achat vérifié
Exactement ce que j'espérait. J'attends à l'avenir des CD de cette même qualité. Il s'agit principalement d'oeuvres de compositeurs français du XIXième siècle et enregistrées par Richard bonynge (mais pas seulement).
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29 internautes sur 29 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Adolphe Adam's score for "Le Corsaire" as presented for Joseph Mazilier's revival of 1867 27 novembre 2005
Par MrLopez2681 - Publié sur Amazon.com
Format: CD Achat vérifié
This is one of the most important recordings Richard Bonynge ever conducted of rare ballet music. Like many classical recordings, this 2-disc set of Adam's "Le Corsaire" was out-of-print very soon after it was released in 1992. For many years it was very difficult to find, something made all the more complicated by the strange recording industry practice of destroying copies of unsold recordings once they were officially out-of-print. By the time I located my own copy circa 2000 via a seller on eBay, I paid about 100$ for it! The digital revolution has made obtaining these recordings very cheap and easy, though unfortunately the liner notes that are often so important to rare recordings are almost never included when purchasing a classical album in its digital format.

Judging from the reviews below, many people who purchase this recording are under the assumption that the music will correspond to what they hear when the world's major ballet companies perform "Le Corsaire". But this recording provides us with Adam's full original score and does not include the later additions by other composers.

"Le Corsaire" was first presented in 1856 at the Théâtre de l'Académie Impériale de Musique (aka Salle Le Peletier) in Paris. The ballet's choreography was the work of the Ballet Master Joseph Mazilier, with music by Adolphe Adam. The ballet would be both Mazilier and Adam's final work. Adam died not long before the ballet's premiere, and Mazilier retired after the initial run.

In 1867, especially for the Ballerina Adèle Grantzow, and in celebration of the Exposition Universelle given that year in Paris, Mazilier came out of retirement to revive "Le Corsaire". For this revival the Ballet Master added the famous 'Pas des fleurs' (known today as 'Le jardin animé') to the music of Léo Delibes. Since Delibes was the student of Adolphe Adam, he was a natural choice, and his additional music was composed and orchestrated in the style of Adam. After Grantzow's Paris seasons, "Le Corsaire" was never again performed by the Parisian ballet, but in 1868 Grantzow traveled to St. Petersburg to perform the work with the Imperial Ballet, and on that occasion Marius Petipa mounted a revival of it that included Grantzow's new 'Pas des fleurs' in an elaborated edition called 'Le jardin animé'. Ballet history had been made, and "Le Corsaire" would live on in Russia via the revivals of Marius Petipa.

Up until the 1917 revolution, "Le Corsaire" rarely left the Imperial Ballet's regular repertory. This was due to the fact that the ballet could showcase the talents of everyone involved to the utmost: the principal role of Medora allowed the ballerina to demonstrate both her dramatic and comedic skills while giving her three full acts of both virtuoso, lyrical and even character dances. The role of Gulnare gave an opportunity for a secondary danseuse, and there were quite a few pas for both male and female soloists. The corps de ballet was given several large passages to show its skill, particularly in the scene 'Le Jardin animé', while also giving the male corps a chance to perform. The set designers were able to create several scenes of differing and exotic locales, while the costume designers were encouraged to dress the performers as sumptuously as possible. But the most exciting showcase was surely given to the theatrical machinists and stage-hands, who were required to create a massive sea-storm and shipwreck live onstage in the final tableau.

As a result of the popularity of "Le Corsaire" it became common for a guest ballerina to perform the principal role of Medora while touring the Imperial capital. In the 19th century it was the custom for a ballerina to have a novelty added for her own performances when stepping into an old ballet. Such pieces were often the legal property of the ballerina they were created for, and were rarely performed by anyone else. Like many ballets of the period, various pas, variations and incidental dances were added to "Le Corsaire" over the course of the ballet's performance history. But unlike many of these ballets, nearly all of these dances soon became part of the ballet's performance tradition. By the time Petipa staged his final revival of "Le Corsaire" in 1899, the score included pieces from 10 composers aside from Adam.

Musically, the history of "Le Corsaire" can be very confusing and even border on the strange, and it doesn't help that the world's most famous productions of this ballet - those performed by American Ballet Theatre and the Kirov/Mariinsky Ballet, respectively - present 2 almost totally different scores. The Kirov/Mariinsky Ballet's version is derived from the ballet master Pyotr Gusev and the ballet historian Yuri Slonimsky's 1955 production for the Maly Theatre in Leningrad, and includes a score fashioned from airs extracted from Adolphe Adam's opera "Si j'étais roi" and his ballet "L'Écumeur des mer", with the inclusion of Petipa's classical dances. American Ballet Theatre's version - being derived from the former Kirov artistic director Konstantin Sergeyev's 1973 version - is a little more faithful to Petipa's productions with regard to its music and choreography. But as entertaining as these productions might be for some, they are still extremely low-grade and have very little to offer artistically. Both productions transform 19th century dance-theatre into a Soviet-era ballet circus. ABT's version in particular has absurd characterizations, with a goofy pervert for a Pasha and french privateer Corsaires transformed into ridiculous pirates à la Blackbeard or Captain Hook.

The score that was utilized for this recording by Richard Bonynge was obtained from the archives of the Bibliothèque Nationale in France, with the orchestral parts having been created from the original conductor's score that was used at the Opéra in 1867 for Mazilier's revival. Unfortunately this recording does not include the later additions as added by Petipa or his successors, but it does include the scene 'Le Jardin Animé' as originally composed by Delibes. Most people are familiar with the Mariinsky version of the music for this scene, which is still presented in St. Petersburg and by many other companies in a more bombastic orchestration that is likely derived from Gusev's 1955 version for the Maly Theatre. Delibes original orchestration is far more lyrical and obviously meant to blend in with Adam's original score.

The music as presented in this recording is wonderful. Included is the Act I Pas de cinq of National Dances from the first tableau, which completely lost from every modern production to date, and the elaborate 'Pas des éventails' from the second tableau in which the lead character of Medora and a group of 16 ballerinas perform with fans to create a kind of peacock/kaleidoscope effect. Interestingly, the 'Pas de éventails' was retained in the St. Petersburg production until just before the 1917 revolution. The so-called "Le Corsaire Pas de deux", which is one ballet's most famous pieces, was added to the ballet in 1915 by Samuil Andrianov (noted teacher of the young Balanchine) to replace the 'Pas des éventails' . Many published sources claim that Petipa added this pas de deux in 1899 for his final revival for the Italian ballerina Pierina Legnani, but she actually danced the 'Pas des éventails' in that revival. Bonynge does not include a recording of this pas de deux with this set, but he has recorded it a few times before, though unfortunately only in John Lanchbery's dreadful re-orchestration.

Richard Bonynge does a first rate job conducting the music, with the orchestra showing just how well the old school of ballet music can sound when in the hands of a conductor that respects it. One unfortunate exclusion in this recording is Adam's use of a large chorus - a male chorus is heard accompanying the melody of cellos and bass during the scene in the second act when the pilgrims come to pray at the Sa'id Pasha's palace (CD 2, track 4, at 5:48 to 6:44). A female choir is used to even greater effect in the final scene when the ship sails on to the stage (CD 2, track 12, until 3:12).

In 2006 the Bavarian State Ballet presented a revival of "Le Corsaire" for which they made use of Adam's original score. This production included 25 of Petipa's original dances from "Le Corsaire" as reconstructed by Doug Fullington from the Stepanov choreographic notation of Harvard's Sergeyev Collection. In 2007 the choreographers Yuri Burlaka and Alexei Ratmansky staged a lavish revival of "Le Corsaire" for the Bolshoi Ballet. For this production Adam's original score was utilized and all of the traditional additional dances included. Burlaka and Ratmansky also restored Petipa's original scheme for the ballet's libretto, its sequence of dances and its mise-en-scène. The choreographers made use of the Sergeyev Collection to guide their staging of the choreography, but it was used merely as a basis and most of the Soviet-era changes were retained. Let us hope the production is filmed and released to DVD in the future, so that everyone can view what this ballet should be.
4 internautes sur 5 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Le Corsaire 29 septembre 2012
Par pply - Publié sur Amazon.com
Format: CD Achat vérifié
Music quality is very good but I had ABT Ballet dvd that I wanted to have the same music lengths as the dvd. They are not the same--wish I had known it.
2 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Le Corsaire 21 juillet 2012
Par JOPS - Publié sur Amazon.com
Format: CD Achat vérifié
This product is a must for ballet lovers. Richard Bonynge is a specialist of Bel Canto as well as French Opera and French music of the 1800s.
His conducting of Le Corsaire is excellent. As a researcher of French music, you can be certain that the music Mr. Richard has recorded on these CDs is as the composers intended, nothing more nothing less.
4 internautes sur 8 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Le Corsaire Richard Bonynge 9 juin 2012
Par amontero - Publié sur Amazon.com
Format: CD Achat vérifié
This version is good but it doesn't bring the music of he Pax de Due from Corsaire which is very beautiful and I bought this CD and when I have at home I realized that. I think Amazon needs someone to explain about the different s version for the client best decision.Adam: Le Corsaire
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