Tous Complices

Deux amis associent leurs compétences pour réduire la pollution plastique dans les océans. Les deux hommes ont pourtant des profils diamétralement opposés : Abhijee Chakir est un mafieux Indien et Alan Garfield un universitaire Américain. Pour financer leur croisade les complices mettent en place deux escroqueries d’une inventivité inouïe. Puis ils s’attaquent à des piliers économiques et politiques pour faire bouger les lignes. Tous les coups sont permis pour faire triompher la cause : la menace, le mensonge, l’instrumentation, et même le divin…

D'où nous viennent nos connaissances ? Qu'est-ce qui motive nos actions ? Pourquoi le monde va si mal ? …

D'où nous viennent nos connaissances ? Qu'est-ce qui motive nos actions ? Pourquoi le monde va si mal ? …

The epic tale of the fall of Troy haunted Berlioz from childhood and inspired some of his most passionately dramatic, richly colorful music. This is Colin Davis's second recording of Les Troyens, following his (out-of-print) 1969 version. Magnificent though it was, some reckoned that reading lacked something in zip. Here, however, such reservations could never apply. Recorded across several lavishly praised concert performances in London in December 2000, this Troyens has an extraordinary electricity and rhythmic drive.

This must be one of the most important historical documents ever to appear from previously unavailable archives. Much as we admire and praise Davis’s Berlioz (whose latest Trojans we reviewed last month)‚ Beecham has to be at least his peer on this and much other evidence. His arresting‚ inspiriting and brilliantly crafted performance here is a thing to marvel at in its understanding of the true Berlioz spirit. He persuades his newly formed RPO and the BBC Theatre Chorus of the day into giving quite thrilling accounts of their music that not even indifferent sound can mar. Beecham was to have returned‚ at Covent Garden‚ to the grand masterpiece in 1960‚ but that was not to be: a severe stroke prevented what would surely have been his crowning service to Berlioz right at the end of his distinguished career.

Colin Davis’s 1969 recording remains a landmark event, the first time this grand opera of Meyerbeerian length, spectacular éclat and Wagnerian artistic ambition had found its way complete onto LP. It effectively changed views about Berlioz the opera composer and orchestral genius and has for many remained the yardstick by which all later performances have been judged. Although studio recorded, it was based on the Covent Garden casting of the day – Jon Vickers’s heroic Aeneas and Josephine Veasey’s voluptuous Dido – with a couple of Frenchmen to boost the ranks of lesser Trojans and Carthaginians…