Cambreling Messiaen

Sylvain Cambreling is one of the leading French operatic conductors. He is known for his often startling innovations in many opera productions: in a performance of Mozart's The Marriage of Figaro at the 2001 Salzburg Festival he employed a synthesizer to deliver recitative accompaniments, and at a performance of Janácek's Katya Kabanova, he used some of the composer's songs as transitional material between acts.

I’ve said it before, and I’ll say it again: not only is Messiaen’s epic meditation on the birth of Christ one of his most astonishing creations, it’s also one of the greatest solo organ pieces ever written. As with so much of his oeuvre, which spans all genres, the composer’s Catholicism is an unequivocal and indivisible part of his unique, instantly recognisable aesthetic. Indeed, it would be impossible to attribute, say, the Turangalîla-Symphonie, Catalogue d'oiseaux or Des Canyons aux étoiles to anyone else. And working my way through Sylvain Cambreling’s Hänssler box of the orchestral music for a future review, I was struck anew by the sheer range and consistency of Messiaen’s craft.

En 2019, les organisateurs – depuis toujours placés sous la direction artistique de René Martin, le fondateur de ce festival – ont choisi la continuité thématique. Après s’être tournés « Vers un monde nouveau » en 2018, ce sont en effet les « Carnets de voyage » qu’ils ont choisi de proposer au public de cette nouvelle édition.

Pierre Boulez has been an exclusive artist with Deutsche Grammophon for over 20 years; his recording legacy with the label is immense. DG celebrate his 90th birthday with a 44-CD box set of his complete DG 20th century music recordings – an aspect of his work that lies at the heart of his achievement. ”The aim of music is not to express feelings but to express music. It is not a vessel into which the composer distills his soul drop by drop, but a labyrinth with no beginning and no end, full of new paths to discover, where mystery remains eternal.” – Pierre Boulez