Massenet: La Navarraise (Remastered) Antonio De Almeida
Album info
Album-Release:
1975
HRA-Release:
02.03.2018
Label: Sony Classical
Genre: Classical
Subgenre: Opera
Artist: Antonio De Almeida
Composer: Jules Massenet
Album including Album cover
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- Jules Massenet (1842-1912): La Navarraise:
- 1 Prélude 02:55
- Act I:
- 2 L'assaut a coûté cher, messieurs! 01:57
- 3 Capitaine, je vois que vous appartenez au régiment de la Biscaye... 02:49
- 4 Je ne pensais qu'à toi 02:41
- 5 Araquil! Mon père 01:37
- 6 Depuis deux ans je l'aime! 01:44
- 7 Ah! Mariez donc son coeur avec mon coeur! 02:25
- 8 Êtes-vous de la compagnie 01:25
- 9 Morts! Les vieux compagnons 03:23
- 10 Crénelons les maisons donnant sur la campagne 01:10
- 11 Ô bien aimée, pourquoi n'es-tu pas la? 01:28
- 12 Anita, la Navarraise? 01:59
- 13 J'ai trois maisons dans Madrid 02:31
- 14 Nocturne 02:35
- Act II:
- 15 Alerte! Alerte! 00:21
- 16 Mon argent, mes deux mille douros! 02:33
- 17 Voici ma dot! Qu'on me le donne! 00:50
- 18 La Navarraise: Act II: Blessé, mourant, j'espère! Car je mourrai par toi! 00:47
- 19 Mourir! Mourir par moi! 03:03
- 20 Mon fils! Père!... Le prix du sang! Horreur! 01:01
- 21 Merci, la bonne Vierge, elle nous a bénis... 01:14
Info for Massenet: La Navarraise (Remastered)
Sony Classical announces a further batch of complete recordings from the CBS/Sony and RCA Victor catalogues. The newest installment of this popular series features some unusual repertoire as well as documents of the New York Metropolitan Opera in its postwar heyday. French opera is represented by a rarity, the first recording of Massenet’s La Navarraise, which has been described as a cross between Carmen and Cavalleria rusticana. Written as a response to the success of Mascagni’s opera, it actually surpasses its model in musical quality. In the title role of this 1975 performance, with the London Symphony Orchestra conducted by Antonio de Almeida, the beloved soprano Lucia Popp gives “a remarkable performance … urgent and intense (Gramophone). “At the very end, when in the face of the hero’s death, her mind snaps and demented laughter begins, she is spine-chilling. … In its way the result is as powerful as the close of Tosca, which musically it resembles in the final bars. … Alain Vanzo, one of the most satisfying of French tenors … does very well by the hero. … The orchestra plainly relishes every detail of the score, and the recording does full justice to the finesse of Massenet’s brilliant orchestration.”
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