|
|
Recommended recording:
Gabriel Bacquier, bass (King/Herald); Jean-Luc Viala, tenor (Prince); Hélène Paraguin, mezzo-soprano (Clarice); Vincent Le Texier (Leandro); Georges Gautier, tenor (Truffaldino); Didier Henry, baritone (Pantaloon/Farfarello); Michelle Lagrange, soprano (Fata Morgana); Consuelo Caroli, mezzo-soprano (Linette); Catherine Dubosc, soprano (Ninette); Jules Bastin, bass (The Cook) / Chorus and Orchestra of The Lyon Opera / Kent Nagano (Sung in French) (Virgin VCD 7 91084 - 2)(2CDs)
This CD set received the Gramophone award for best opera recording of (forgive my memory lapse) 1989 or 1990. And it's easy to see why. Though it's sung in French (Prokofiev, who wrote the libretto in Russian, did approve a French-language version for the opera's premier), the core of the work comes through here to marvelous effect: Nagano and company vigorously stir the mixture of farcical slap-stick and acid-laced joyous music to make for tasty oranges for the jaded palette. There's not a moment's inattention by the conductor to the rambunctious goings-on in Prokofiev's opera. You can practically see the action on stage: the spectators (comedians, tragedians, empty-heads, romantics, etc.) arguing vociferously at the outset over what they shall see; nasty Fata Morgana (splendidly sung by Michelle Lagrange) casting wicked spells; Truffaldino (characterfully performed by Georges Gautier) and the prince hiding from the giant cook; the mad chase near the end of Smeraldina, Clarissa and Leandro. It's all here in splendid singing, abetted by gorgeous sonics and vivid acoustical atmosphere.
The playing by the Lyon Opera Orchestra is never less than exuberant and brilliant: the well-know march and scherzo are deliciously rendered, and there's so much frothy verve to their performance in general, you could hardly expect this level of orchestral panache bettered by even some of the world-class ensembles. Production at every level in this recording is high--even the booklet (200 pages!) that comes with the set contains excellent notes, photographs and short biographies of the conductor and major singers, and a three-language libretto with cartoon-like illustrations.
Even if Russian Disc or Consonance (or someone else with access to the MK vaults) re-releases the Dzemal Dalgat/Melodiya recording of 30 or so years ago (it featured an even madder laughing scene), this is still the recording to have, unless, of course, a Russian-language performance is a must for you and you don't mind less than up-to-date sonics. All in all, then, this Virgin Classics release is an absolute winner.
Written by Robert Cummings
Copyright © 1996 Robert Cummings (rcumming@csrlink.net)
