Lyon Carnivore

Many Romantic composers owe their fame to one of their symphonic poems. Alongside acknowledged French masterpieces in the genre, the fifteen tracks presented here include four previously unrecorded works and several rarities by women composers. The Orchestre National de Lyon, a great champion of French Romantic music, offers a palette of shimmering colours under the baton of Nikolaj Szeps-Znaider as it relates in music the legend of Merlin the Magician, the fairytale of Sleeping Beauty and the misadventures of the Sorcerer’s Apprentice.

Of all Berlioz’s Shakespeare-inspired works, Roméo et Juliette is unquestionably his masterpiece. It is also cast in an innovative new form, a kind of ‘super-symphony’ that incorporates elements of symphony, opera and oratorio. Berlioz composed no singing roles for the central characters, but allowed others to comment or narrate, giving latitude to incarnate the lovers in a musical language of extraordinary delicacy and passion. The vivid Ball Scene and Romeo at the Capulet tomb are intensely dramatic but the heart of the work is the Love Scene, a long symphonic poem which Richard Wagner called ‘the melody of the 19th century’.

In the role of Eurydice, Natalie Dessay begins at once with a display of vocal and verbal pyrotechnics, which are then taken up by Yann Beuron as Orpheus. Together they give us an idea of the developments to follow. Dancers and singers melt into a unit. The stage setting and an unconventional choreography sparkle with inventiveness. When Pluto, for example, arrives on skis from the underworld onto Mt. Olympus and Offenbach quotes the famous can-can right in the middle of Pluto’s aria, it seems to be a parody of his own work. The production offers a wealth of material for modern interpretations of this operetta full to the brim with ironic sideswipes at morality and immorality.

In spite of the French title, and the conductor known for his interest in period performance, this is not the French Orphee et Eurydice of 1774; it is a different 'period version', the period in question being not Gluck's but that of Berlioz (or, as we shall see, nearly so). In 1859, Berlioz, always a passionate admirer of Gluck, prepared a version of the opera for the contralto Pauline Viardot. The alto version of the opera was of course the original Italian one, of 1762, for a castrato, but Berlioz wanted to incorporate some of the changes Gluck had made in 1774 and to use a French text. His compromise version has served as the basis for most revivals of the opera, in whatever language, from then until relatively recent times, though its four-act structure has rarely been followed.