Vumingo Ete

Ambroise Thomas wrote this comic opera, which has little to do with A Midsummer Night's Dream; it includes Falstaff, Elizabeth I and Shakespeare all in a strange literary interaction. Thomas fused many of the operatic styles of his day in a skillfully written score. The piece was revived at Compiègne in 1994 to mark the opening of the Channel Tunnel. Noted director and producer Pierre Jourdan has been staging opera since 1968. In 1988, he founded the Théâtre Français de la Musique and the association Pour le Théâtre Impérial in the Théâtre Impérial de Compiègne. Every year, he directs and produces different lyric works with the mission to rediscover the French musical and lyrical repertoire from the post-baroque to today and to restore an authentic French style to the singers and the orchestras which accompany them. These productions have been triumphantly welcomed by the public and critics alike.

L'été suédois 196… promet d'être beau et chaud. Dans un cadre idyllique - une bicoque familiale au bord d’un lac, à l'orée d'une forêt - Erik, quatorze ans, entame ses vacances avec son ami Edmund et son grand frère Henry. …

A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary.

Kiri Te Kanawa does well by these songs, avoiding the billowing excesses of sentiment that in other hands (or vocal chords) can make them sound much too soggy. Although Berlioz gathered them all together under the present title, all of the songs were composed at different times for different singers, so they aren't really a cycle at all. I seldom listen to all of them at once, and you should feel free to take them in any order that suits you. "The Death of Cleopatra" is an early cantata that perfectly suits Jessye Norman's stately delivery. She's always at her best playing royalty, and if they're dying in mortal agony, so much the better.

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Mayfair, Londres, été 1911. Lord et lady Rotherfield s'apprêtent à recevoir la haute société londonienne dans leur somptueuse demeure de Berkeley Square, pour le bal des 18 ans de leur fille Victoria. La jeune fille ne veut pas manquer son entrée dans le monde. Elle est en colère, car sa soeur Evangeline a disparu. C'est Julian, le frère aîné, qui la retrouve dans une sordide prison de Bermondsey. …