Berlioz - La Damnation de Faust / Veasey, Gedda, Bastin, van Allan, LSO, C. Davis

Berlioz - La Damnation de Faust / Veasey, Gedda, Bastin, van Allan, LSO, C. Davis

Berlioz - La Damnation de Faust / Veasey, Gedda, Bastin, van Allan, LSO, C. Davis
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CD Details

Edition: Music CD
CD Release Date: 2001-09-11
Music Label: Philips
Soundtracks:
Music CD 1
  1. Part I, Scene 1: Le Vieil Hiver - Nicolai Gedda
  2. Part I, Scene 1. Ronde Des Paysans: Les Bergers Quittent Leurs Troupeaux/Scene 2: Mais D'un... - LSO Chor/Arthur Oldham/Nicolai Gedda
  3. Part I, Scene 2: Marche Hongroise - LSO/Sir Colin Davis
  4. Part II, Scene 3: Sans Regrets J'ai Quitte Les Riantes Campagnes - Nicolai Gedda
  5. Part II, Scene 3. Chant De La Fete De Paques: Christ Vient De Ressusciter! - LSO Chor/Arthur Oldham
  6. Part II, Scene 3: Helas! Doux Chants Du Ciel - Nicolai Gedda
  7. Part II, Scene 4: O Pure Emotion! - Jules Bastin
  8. Part II, Scene 5. Choeur De Buveurs: A Boire Encor! - LSO Chor/Arthur Oldham
  9. Part II, Scene 5. Chanson De Brander: Certain Rat, Dans Une Cuisine/Fugue Sur Le Theme De La... - Richard Van Allan/LSO Chor/Arthur Oldham
  10. Part II, Scene 5: Vrai Dieu, Messieurs - Jules Bastin
  11. Part II, Scene 5. Chanson De Mephistopheles: Une Puce Gentille - Jules Bastin
  12. Part II, Scene 5: Assez! Fuyons Ces Lieux - Nicolai Gedda
  13. Part II, Scene 6. Air De Mephistopheles: Voici Des Roses - Jules Bastin
  14. Part II, Scene 6. Songe De Faust: Dors! Heureux Faust - LSO Chor/Arthur Oldham
  15. Part II, Scene 6: Ballet Des Sylphes - LSO/Sir Colin Davis
  16. Part II, Scene 7: Margarita! - Nicolai Gedda
  17. Part II, Scene 7. Chor De Soldats: Villes Entourees/Chanson D'Etudiants: Jam Nox Stellata... - LSO Chor/Arthur Oldham
  18. Part III, Scene 8: Prld - LSO/Sir Colin Davis
  19. Part III, Scene 8. Air De Faust: Merci, Doux Crepuscule! - Nicolai Gedda
Music CD 2
  1. Part III, Scene 9: Je L'entends! - Jules Bastin
  2. Part III, Scene 10: Que L'air Est Etouffant! - Josephine Veasey
  3. Part III, Scene 10. Chanson Gothique: Autrefois Un Roi De Thule - Josephine Veasey
  4. Part III, Scene 11. Evocation: Esprits Des Flammes Inconstantes - Jules Bastin
  5. Part III, Scene 11: Menuet Des Follets/Scene 12: Maintenant Chantons A Cette Belle - Jules Bastin
  6. Part III, Scene 12. Ser De Mephistopheles: Devant La Maison - Jules Bastin/LSO Chor/Arthur Oldham
  7. Part III, Scene 13: Duo: Grands Dieux!/Ange Adore - Josephine Veasey/Nicolai Gedda
  8. Part III, Scene 14. Trio Et Chor: Allons, Il Est Trop Tard!/Je Connais Donc Enfin - Jules Bastin/Nicolai Gedda
  9. Part IV, Scene 15. Romance: D'amour L'ardente Flamme - Josephine Veasey
  10. Part IV, Scene 15: Au Son Des Trompettes - LSO Chor/Arthur Oldham
  11. Part IV, Scene 16. Invocation A La Nature: Nature Immense - Nicolai Gedda
  12. Part IV, Scene 17. Recitatif Et Chasse: A La Voute Azuree - Jules Bastin
  13. Part IV, Scene 18. La Course A L'abime: Dans Mon Chor Retentit Sa Voix - Nicolai Gedda
  14. Part IV, Scene 19. Pandaemonium: Has! Irimiru Karabraro!/Tradioum Marexil - LSO Chor/SAuthur Oldham
  15. Part IV, Scene 20. Epilouge Sur La Terre: Alors, L'Enfer Se Tut - LSO Chor/Arthur Oldham
  16. Part IV, Scene 21. Le Ciel: Laus! Laus!/Apotheose De Marguerite: Remonte Au Ciel, Ame Naive - Wandsworth School Boys' Chor/Russell Burgess/Ambrosian Singers/John McCarthy

Music reviews of Berlioz - La Damnation de Faust / Veasey, Gedda, Bastin, van Allan, LSO, C. Davis

Music Review: GOETHE DID NOT COMMENT
Rating: 5 Stars

Colin Davis probably did as much as any musician since the war to establish Berlioz as a central musical classic. This set is the earlier of his versions of Faust. In terms of recorded tone and quality it is good, but needs a little management to be heard to best effect. Right at the start Faust may seem just a bit remote, so you will be tempted to turn up the volume, only to think better of that when the first major orchestral outburst, recorded with great fidelity, makes its impact. Similar issues of tone-manipulation continue to present themselves throughout the set, but when you have been through it once you will have worked out your solution to what is only a minor problem with modern technology. In terms of the interpretation of the work, I doubt if there has been any better since, his or anyone else's.

Davis seems a complete natural for this extremely French music, much as Previn seems to be for English music. He understands his man through and through and finds no contradiction between the grandiose effect-maker and the lyricist who can take his place with Schubert, Weber and Brahms. For me, the crucial qualification in an interpreter of Berlioz is that he must know how to relax. This music, like Ravel's, will gather not just power but immense power through its own idiom and in the composer's good time, and it must not be forced in any way. Davis gets the Rakoszy march to perfection, and if that can actually be said for most conductors these days, I suspect it is in no small measure down to Davis that the standard has been set. Where vividness is called for, as in some of the more pantomimish turns by Mephistopheles, Davis gets his orchestra to respond admirably. If the result slightly suggests the version of the Devil ridiculed by C S Lewis's Screwtape as something in red tights, I suspect that was Berlioz's vision anyway.

Faust himself is far and away the most important vocal part. Faust here is sung by no less than Gedda, and his rendering has probably been the touchstone ever since. He is something like perfect, although I confess I was not listening, nor inclined to listen, for minutiae of his French pronunciation. In sound alone Mephistopheles is largely a singer of beautiful lyric music with a number of outbursts when the composer remembers to be diabolic, and while I can't associate Jules Bastin with this view, if that's what it happened to be he carries it off admirably. I have a particular liking for the steady, unexaggerated and affecting Marguerite of Josephine Veasey, and it only remains to trot out routine but sincere and appreciative compliments to everyone else concerned.

Since writing the above I have had the chance to see as well as hear Berlioz's Damnation of Faust on DVD. He was a rum one, was Berlioz. It was only to be expected that he would be taken with the Faust legend, considering the impact Goethe's Faust had on the entire romantic movement. Duly captivated, he treats us to what is in large part one of his highest achievements in `absolute' music, with its wonderful instrumental episodes and its numerous songs. Whether it really comes near to Goethe's great enquiry into what perdition, salvation, indeed the soul itself, may consist of I have never been too sure. It may be that there is a dimension missing from even the finest sound-only rendering, which is very likely this one, and that the work is crying out for staging. One way or the other, neglect it at the peril of your musical soul.

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