Pell?as et M?lisande / von Stade, Stilwell, van Dam, Raimondi, Karajan

Pell?as et M?lisande / von Stade, Stilwell, van Dam, Raimondi, Karajan

Pell?as et M?lisande / von Stade, Stilwell, van Dam, Raimondi, Karajan
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CD Details

Edition: Music CD
Format: Box set, Original recording remastered
CD Release Date: 1999-09-21
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Pr?lude
  2. Act 1. Scene 1.: "Je Ne Pourrai Plus De Cette For?t"
  3. Act 1. Scene 1.: "Qu'Est-Ce Qui Brille Ainsi, Au Fond De L'Eau ?"
  4. Act 1. Scene 1.: "Interlude
  5. Act 1. Scene 2.: Voici Ce Qu'Il ?crit ? Son Fr?re Pell?as: "Un Soir, Je L'Ai Trouv?e"
  6. Act 1. Scene 2.: "Je N'En Dis Rien"
  7. Act 1. Scene 2.: "Grand-P?re, J'Ai Re?u En M?me Temps Que La Lettre De Mon Fr?re"
  8. Act 1. Scene 2.: Interlude
  9. Act 1. Scene 3.: "Il Fait Sombre Dan Les Jardins"
  10. Act 1. Scene 3.: "Ho? ! Hisse Ho? ! Ho? !"
  11. Act 2. Scene 1.: "Vous Ne Savez Pas O? Je Vous Ai Men?e ?"
  12. Act 2. Scene 1.: "C'Est Au Bord D'Une Fontaine Aussi Qu'il Vous A Trouv?e ?"
  13. Act 2. Scene 1.: Interlude
  14. Act 2. Scene 2.: "Ah ! Ah ! Tout Va Bien, Cela Ne Sera Rien"
  15. Act 2. Scene 2.: "Je Suis...Je Suis Malade Ici"
  16. Act 2. Scene 2.: "Il Est Vrai Que Ce Ch?teau Est Tr?s Vieux Et Tr?s Sombre"
  17. Act 2. Scene 2.: "Tiens, O? Est L'Anneau Que Je T' Avais Donne? ?"
  18. Act 2. Scene 2.: Interlude
  19. Act 2. Scene 3.: "Oui, C'Est Ici, Nous Y Sommes"
Music CD 2
  1. Act 3. Scene 1.: "Mes Longs Cheveux Descendent De La Tour !"
  2. Act 3. Scene 1.: "Oh ! Oh ! Mes Cheveux Descendent De La Tour !"
  3. Act 3. Scene 1.: "Je Les Noue, Je Les Noue Aux Branches Du Saule"
  4. Act 3. Scene 1.: Interlude
  5. Act 3. Scene 2.: "Prenez Garde; Par Ici, Par Ici"
  6. Act 3. Scene 2.: Interlude
  7. Act 3. Scene 3.: "Ah ! Je Respire Enfin !"
  8. Act 3. Scene 3.: "? Propos De M?lisande"
  9. Act 3. Scene 3.: Interlude
  10. Act 3. Scene 4.: "Ah ! Ah ! Petite M?re A Allum? Sa Lampe"
Music CD 3
  1. Act 4. Scene 1.: "O? Vas-Tu ? Il Faut Que Je Te Parle Ce Soir"
  2. Act 4. Scene 2.: "Maintenant Que Le P?re De Pell?as Est Sauv?"
  3. Act 4. Scene 2.: "Pell?as Part Ce Soir"
  4. Act 4. Scene 2.: "Une Grande Innocence"
  5. Act 4. Scene 2.: Interlude
  6. Act 4. Scene 3.: "Oh ! Cette Pierre Est Lourde"
  7. Act 4. Scene 4.: "C'Est Le Dernier Soir"
  8. Act 4. Scene 4.: "On Dirait Que Ta Voix A Pass? Sur La Mer Au Printemps !"
  9. Act 4. Scene 4.: "Quel Est Ce Bruit ? On Ferme Les Portes"
  10. Act 5.: "Ce N'Est Pas De Cette Petite Blessure Qu'Elle Peut Mourir"
  11. Act 5.: "Attention: Je Crois Qu'Elle S'?veille"
  12. Act 5.: "?tes-Vous Seul Dans La Chambre, Grand-P?re ?"
  13. Act 5.: "M?lisande, As-Tu Piti? De Moi Comme J'Ai Piti? De Toi ?"
  14. Act 5.: "As-Tu Aim? Pell?as ?"
  15. Act 5.: "Qu'Avez-Vous Fait ? Vous Allez La Tuer"
  16. Act 5.: "Qu' y-a-t-il ? Qu'est-ce Que Toutes Ces Femmes Viennent Faire Ici ?"
  17. Act 5.: "Attention... Attention"

Music reviews of Pell?as et M?lisande / von Stade, Stilwell, van Dam, Raimondi, Karajan

Music Review: The Best Pell?as...
Rating: 5 Stars

.
We have a new winner in the Best Pell?as category: Karajan/BPO's studio reading from 1978. This was Karajan's third time out with Debussy's magnum opus, and the Viennese conductor with his mastery of Wagner and Schoenberg perfectly captures Debussy/Maeterlinck's Symbolist masterpiece.

Maeterlinck was and remains an unique and important poetic/literary/theatrical innovator in the categories of Symbolism and proto-Surrealism. One must appreciate just how avant-garde his work was at the Fin de Si?cle. Even now his work retains its interest because of his abstraction of the human condition into a disoriented or dreamlike state. At its most basic, the interest of Pell?as et M?lisande is the human dilemma of a woman's love for a man. Maeterlinck's synthesis of connotative and denotative language distilled into elliptical phraseology continues to fascinate. He was, of course, awarded the Nobel Prize in 1911.

Till now thought Abbado/VPO's realization (sadly out of print) couldn't be surpassed Debussy - Pell?as et M?lisande / M. Ewing ? Le Roux ? van Dam ? Courtis ? Ludwig ? Wiener Phil. ? Abbado . And since Karajan's leave-taking, Abbado virtually ties with Boulez as Earth's greatest conductor--(even Boulez probably couldn't surpass Abbado's Wozzeck Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado ).

As for other critique, Ted Libby (on item site page) says it all.

In addition, Debussy enthusiasts will want to seek out his second greatest work Le Martyre de Saint S?bastien (complete version) Claude Debussy: Le Martyre de Saint S?bastien .
.

Description of Pell?as et M?lisande / von Stade, Stilwell, van Dam, Raimondi, Karajan

The payoff to Herbert von Karajan's relentless pursuit of ensemble perfection and beauty of sound can be heard in the playing of the Berlin Philharmonic on this recording: by 1978, when it was made, they were indisputably the most polished and flexible orchestra in Europe, and one of the few orchestras anywhere (including France) that was capable of playing French music with real authority. Fittingly, the orchestra is very much at the center of this account of Claude Debussy's uniquely beautiful opera, magnificently projecting the mysterious, darkly translucent world of its fatally entangled characters. The cast, which is led by two Americans--Richard Stilwell as Pell?as and the incomparable Frederica von Stade as M?lisande --and features a Belgian (Jos? van Dam) as Golaud and an Italian (Ruggero Raimondi) as Arkel, is a superb one, not least because those principals who are not French are nonetheless Francophones, and sing with excellent diction and an authentic delivery. Karajan's pacing of the drama, his skill at eliciting just the right intensity from the orchestra, his surpassing gentleness with the singers (balances are superb and every word comes through clearly), and the overall beauty of the orchestral playing make this not only the finest account of Pell?as et M?lisande yet recorded, but one of the most treasurable opera recordings ever, fully worthy of EMI's Great Recordings of the Century designation. --Ted Libbey

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