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Paul
DUKAS (1865–1935) Ariane et Barbe-Bleue - Opera
in three acts (1907)
Deborah
Polaski (soprano) – Ariane; Jane Henschel (mezzo) – La
Nourrice; Kwangchul Youn (bass) – Barbe-Bleue; Ruxandra
Donose (mezzo) – Sélysette; Stella Grigorian (mezzo) – Bellangčre;
Ileana Tonka (soprano) – Ygraine; Nina Bernsteiner
(soprano) – Mélisande; Ante Jerkunica (bass) – Le Vieux
Paysan; Erik Ĺrman (tenor) – 2nd Paysan;
Markus Raab (bass) – 3rd Paysan;
Slovak Philharmonic Choir, Radio-Symphonieorchester Wien/Bertrand
de Billy
rec. live, Wiener Konzerthaus, 5 May 2006
French libretto with German and English translations
enclosed OEHMS
CLASSICS OC915 [69:42 + 46:33]
To
most ‘ordinary’ classical music listeners Paul Dukas
is synonymous with L'apprenti sorcier (The
Sorcerer's Apprentice) (1897), based on Goethe's poem "Der
Zauberlehrling”. Its vivid story-telling and colourful
orchestration made it very popular and an attractive
show-piece for good orchestras. Through Walt Disney’s Fantasia it
also reached audiences far beyond the traditional classical
public. But he wasn’t just a ‘one-work-composer’. He
was at least periodically quite prolific but also extremely
self-critical and only a handful of works were ever published.
His Symphony in C (1896) is a splendid work in
three movements. His last work of any importance, the
oriental ballet La Péri should attract lovers
of colourful orchestral music. There is an excellent
disc with Leonard Slatkin and Orchestre National de France,
comprising the three works mentioned above, plus a Fanfare to
be played before the ballet (BMG 09026 68802 2).
His
sole opera, Ariane et Barbe-Bleue, is based on
a French fairy-tale which originally appeared in Charles
Perrault’s Contes de ma męre l’Oye (1697) and
also found its way into the first edition of Grimm’s
Fairy Tales (1812). The libretto was written by Maurice
Maeterlinck, who was very much á la mode around
the turn of the last century. Debussy’s only opera Pélleas
et Melisande, with which Dukas’s work has similarities,
was an abridged version of Maeterlinck’s successful play.
The story has been set by others: Offenbach’s three-act
operetta Barbe-Bleue (1866) and Bëla Bartók’s
one-act opera Duke Bluebeard’s Castle (composed
1911, premiered 1918) are the best known, I suppose.
Compared to Bartók’s dark expressionist work with only
two characters – Blue-Beard and Judith, where Blue-Beard
in his loneliness is easy to pity – in Dukas’s opera
the evil Blue-Beard is marginalised. It is the mentally
strong Ariane who dominates the proceedings but her sisters
in misfortune also play important parts. As is hinted
at in the accompanying notes, the opera might be seen
as an early contribution to the Women’s Lib movement
- in its infancy at the time. In the last resort, however,
it is only Ariadne who chooses freedom and leaves the
castle whereas the other wives stay.
Dukas’s
music for this drama has influences from Debussy and
Wagner but it is darker and more overtly dramatic than
Debussy’s, which I have always found a little too perfumed.
Brilliant orchestrator that he was, Dukas uses the full
orchestral palette to stunning effect. Although he is
basically an impressionist – but with more luminous colours
and sharper outlines – he doesn’t fight shy of more expressionist
language. Generally this is a musically strong and dramatically
taut work and those who claim that, next to Pelléas
et Mélisande, it is the best 20th century
French opera have a lot going for their argument. Personally
I would still vote for Poulenc’s Dialogues des Carmélites. Where
Dukas especially impresses is in the dramatic choral
scenes, as in the opening of the opera. The women’s chorus
in the last act and the purely orchestral music – not
least the heartrending Prélude to act two – are
extremely engaging.
Bertrand
de Billy is a strong advocate for the work in this live
recording from a concert performance in the Vienna Concert
Hall. The sound is vivid enough and chorus and orchestra
are splendid. It might be seen as a drawback, maybe,
that neither is a French ensemble and that among the
soloists there isn’t a single native French speaker.
Only the Paris-born conductor has the right credentials.
Those who must have the Gallic flavour should know that
there is – or at least has been – a purely French recording
on Erato under Armin Jordan and with Gabriel Bacquier
as Barbe-Bleue. That said, I found the present cast highly
convincing.
Any
performance of this opera stands or falls with the role
of Ariane. Deborah Polaski may have been a little past
her best, showing some unsteadiness early in the performance
but she grows during the evening. In the sensual Wagnerian
finale, the celebrated Isolde is truly magnificent. Jane
Henschel evades disappointment and she is an impressive
Nurse. Well established names like Ruxandra Donose and
Stella Grigorian live up to their reputations. The young
Ileana Tonka and Nina Bernsteiner are excellent in their
roles. Kwangchul Youn also does what he can with Barbe-Bleue’s
rather chopped about part.
Dukas’s
only opera has never really won a foothold in the standard
repertoire but it is well worth the acquaintance. With
the prospects for live performances rather limited the
present recording is a worthy substitute.
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