Invitation au Voyage
Giorgos Kanaris (baritone)
Thomas Wise (piano)
rec. 2019, Augustinum, Bonn, Germany
Sung texts provided in French only
HÄNSSLER CLASSIC HC19068 [67:36]
This new album Invitation au Voyage is one of a number of splendid recital collections containing French mélodies (art-songs) with solo instrument, or chamber accompaniment that I have encountered in the last decade or so. Springing to mind are desirable albums sung by Véronique Gens, Sandrine Piau, Sabine Devieilhe, Cyrille Dubois, Marianne Crebassa, Stéphane Degout, Stéphanie d’Oustrac et al. A suggested list of meritable albums is included at the end of this review.
The Greek-born baritone soloist on Invitation au Voyage, Giorgos Kanaris, lists studying at Munich and Stuttgart as fundamental to his music training. A member of the ensemble at Oper Bonn since 2009, Kanaris also enjoys a parallel career as a recital singer. Thomas Wise, an American pianist and conductor, is a product of the Juilliard School, New York, with post-graduate studies in Cologne and London. In recent years, Wise served as conductor and head of music at the Bonn Opera and has since 2018 been director of studies at the Theater Basle. In 2017, the duo of Kanaris and Wise released an engaging album Sehnsuchtslieder (Songs of Yearning) comprising of Lieder cycles of Beethoven’s An die ferne Geliebte (To the Distant Beloved) and Schubert Schwanengesang (Swan Song) on Hänssler.
In its original scoring for vocal soloist and piano accompaniment, Berlioz’ song cycle Les nuits d'été (1841) is generally considered as one of the earliest examples of the French mélodie (art-song) form in the Romantic era. Certainly, around the three decades either side of the turn of the twentieth-century a large number of French composers were inspired to write mélodies and vocal chamber music by the verse of the French writers of the day such as Apollinaire, Verlaine, Rimbaud and Baudelaire, and by those of renowned poets of past eras. Although not represented on this album, Gounod and Fauré are widely regarded as the first genuine masters of the mélodie. Profoundly influential in the genre was Debussy, a master for his creativity and individuality in employing impressionist elements to communicate the feelings, emotions and atmosphere evoked by the text. Other distinguished composers of the mélodie include Ravel, Massenet and Duparc through to the twentieth century, notably Roussel, Hahn and Poulenc.
The title of the album Invitation au Voyage is taken from Duparc’s setting of Baudelaire text concerned with a poet and his lover dreaming of an exotic world. Certainly, Kanaris and Wise have prepared a fascinating programme of twenty-five mélodies spanning some sixty-five years from four composers Debussy, Ibert, Ravel and Duparc, all of whom were either Parisians by birth, resided there or had strong ties to the French capital. There is a pair of song cycles from Debussy: his Trois mélodies de Paul Verlaine and Trois chansons de France, Ibert’s Chansons de Don Quichotte, and Ravel’s Don Quichotte à Dulcinée. In addition, there are twelve of Duparc’s much-admired mélodies.
Born in the outskirts of Paris, Debussy, who lived through the Belle Époque era that flourished in Paris, is often said to be ‘the first impressionist composer’, although this title infuriated him. Given his importance to the development of French mélodie it comes as no surprise that he features on this album with two of his many song cycles. Around a third of Debussy’s published mélodies are settings of text by symbolist poet Paul Verlaine. Debussy wrote his cycle Trois mélodies de Paul Verlaine in 1891, settings that had to wait a decade for publication. These three texts are taken from Verlaine’s 1880 large volume of poetry Sagesse (Wisdom). A preface by F.W. Stokoe in Sagesse (pub. CUP, 1942) acknowledges Verlaine’s creativity and forward-looking poetic vision by stating ‘A new gamut of moods is evoked in Sagesse’. The nature of Verlaine’s text clearly fired Debussy’s inspiration and his friend poet Pierre Louÿs felt the settings perfectly suited the tone and meaning of Verlaine’s verse. Out of the collection of poems Debussy choice was a triptych that does not involve the presence of people but features the natural world specifying the weather, seasons, sea, sky, fields, hills, animals and birds. Whilst serving a prison sentence, Verlaine converted to Catholicism which is suggested in La mer est plus belle que les cathédrales (The sea is lovelier than the cathedrals) and by his reference to the Virgin Mary, Star of the Sea and protector of seafarers. Standing out in this engaging cycle is the first setting La mer est plus belle que les cathédrales, a depiction of the lure of the sea and acceptance of its dangers. The sincerity of feeling that Kanaris, with his gift for musicality, affords to all three of Verlaine’s texts, is entirely convincing.
In 1904, Debussy dedicated his Trois Chansons de France to soprano Mme Emma Bardac who was later to become his second wife. These are very short works with two outer Rondels to settings of fifteenth-century poet Charles d’Orléans and the middle setting La grotte from the seventeenth-century dramatist Tristan l’Hermite. My pick of the cycle of melodies is La grotte - Auprès de cette grotte sombre (The Grotto - Close to this dark grotto); despite some minor unevenness, Kanaris sings expressively, creating a mood of tranquillity with a discernible undertow of reflection.
A Parisian born and bred, Ibert wrote his four Chansons de Don Quichotte in 1931. Film director Georg Pabst asked Ibert to write songs for his 1933 film adaptation of Cervantes’ classic novel Don Quixote. Starring in the film was famous Russian bass Feodor Chaliapin. The film producers had concertedly approached several composers Ibert, Ravel, Delannoy, de Falla and Milhaud to write the music for Chaliapin, however, Ibert was chosen. For his Don Quichotte settings Ibert did not use Cervantes’ text. First, he set a single poem by sixteenth-century poet Pierre de Ronsard concerning castles, knights and chivalry, which was nothing to do with Cervantes. Then he set three poems by his close contemporary French screenwriter Alexandre Arnoux which were inspired by Cervantes’ novel. Ibert’s original settings were orchestral songs for the film but performed here are the composer’s own versions for voice and piano. Conspicuous is the performance of the opening piece, Chanson du départ de Don Quichotte (Song of the departure of Don Quixote), which serves to introduce the protagonist planning his misguided adventures to re-establish knightly chivalry. Virile and sturdy in voice, Kanaris revels in the combination of Ronsard’s text and the distinct Spanish flavour of Ibert’s music and with considerable feeling creates a rather haunting atmosphere.
Born in the Basque country near the Spanish border, Ravel was not a native Parisian. However, he was a student at Conservatoire de Paris and lived most of his life in a small town close to Paris. Ravel’s song cycle Don Quichotte à Dulcinée came about as a result of a commission by film director Georg Pabst for music for his film adaptation of Cervantes’ Don Quixote. Ibert’s music was chosen from the several composers considered, although Ravel was behind schedule anyway owing to illness. The three mélodies that Ravel set to texts by Paul Morand are based on Cervantes’ Don Quixote. Forming Ravel’s cycle are Chanson Romanesque, Chanson épique and Chanson à boire. All of which exist in versions for voice and piano, and also orchestrations when Ravel, who was unwell, had assistance from Lucien Garban and Manuel Rosenthal. My pick of the cycle is the opening mélodie - Chanson romanesque (Romantic song), a charming ballad where Ravel chose to use Spanish dance rhythms of the guajira. Here, the deluded Don Quixote hopes to win the affection of princess Dulcinea by making grandiose promises. Kanaris is in fine voice and this brief mélodie provides an especially hearty performance, full of character.
Another Parisian born composer, Duparc’s bailiwick was mélodies and he wrote very little else. He favoured texts from poets such as Baudelaire, Lahor, Gautier et al and performed here are twelve of his total output of seventeen extant mélodies. A perfectionist, Duparc was given to destroying score after score leaving only forty pieces remaining. Illness, diagnosed then as neurasthenia, caused him to stop composing when aged thirty-seven, although he lived until he was eighty-five. Although meagre in quantity, what Duparc left for posterity is greatly admired. Duparc’s mélodies are greatly to my taste and I notice that no less an esteemed figure than Ravel viewed them as ‘works of genius’.
I particularly savour the performance of La Vague et la cloche (The Wave and the Bell), a setting of François Coppée text, where he is dreaming of a dangerous storm at sea and having to ring the tower bell frantically. Kanaris impresses in this setting of audacious maritime drama. Standing out are his determination and passion, maintaining an energetic impetus whilst retaining cognisance of an adept level of control. Notable, too, is the baritone’s satisfying reach in his high register.
Kanaris also excels in the highly romantic Extase (Ecstasy), a setting of Jean Lahor text. That theme of ecstasy runs through the piece which is deliberately fashioned by Duparc on the Liebestod from Wagner’s Tristan und Isolde. Understated, the text of Extase is engagingly rendered by Kanaris with his adroit sense of expression and warm tone. The baritone delightfully conveys the prevailing mood of languidness, which builds uneasily to a stormy climax only to die down. Worthy of attention, too, is Duparc’s Invitation au Voyage (Invitation to the Voyage) the name of the album. In this Baudelaire text Kanaris creates a rewarding measure of emotion where the poet requests his lover to dream of an idyllic fantasy world where they live together.
This album of French mélodies is entirely engaging with the unified Kanaris and Wise clearly in accord with the import and mood of the text, and the atmospheric sound world created by the composers. Highly committed and heartfelt, these performances bristle with vitality, with no shortage of subtlety and intimacy when needed. Although not singing in his native language, the wholehearted baritone does admirably. In the French texts he provides clear diction while striving to give attention to the nuances of the text and communicating an array of emotions. Kanaris’ vocal range is not the widest and his line can have some minor unevenness, but these issues never intrude too much. Right through the recital Wise, using a Steinway model-b grand piano, plays to an inspired standard. This elevated level of consistency and accomplishment enables Wise to penetrate right to the heart of the scores.
Kanaris and Wise were recorded at Augustinum, Bonn and the sound team have rewarded the duo with pleasing clarity and ideal balance between voice and piano. Striking is the agreeable tone produced by Wise’s Steinway. Regrettably, the sung texts provided are only in French without English translations and there is no essay either.
Invitation au Voyage is an absorbing album of French mélodies, including two cycles inspired by Cervantes’ novel Don Quixote, which certainly piqued my interest. Baritone Giorgos Kanaris and pianist Thomas Wise supply appealing and insightful performances which overflow with sincerity.
Michael Cookson
Previous review: William Hedley
Contents:
Claude DEBUSSY (1862-1918)
Trois mélodies de Paul Verlaine: (1891) [5:57]
1) I. La mer est plus belle que les cathédrales
2) II. Le son du cor s'afflige vers les bois
3) III. L'échelonnement des haies
Trois chansons de France (1904): [5:26]
4) I. Rondel (Le temps a laissé son manteau)
5) II. La grotte
6) III. Rondel (Pour ce que Plaisance est morte)
Jacques IBERT (1890-1962)
Chansons de Don Quichotte (1931): [9:18]
7) I. Chanson du départ de Don Quichotte
8) II. Chanson à Dulcinée
9) III. Chanson du Duc
10) IV. Chanson de la mort de Don Quichotte
Maurice RAVEL (1875-1937)
Don Quichotte à Dulcinée (1933): [6:27]
11) I. Chanson romanesque
12) II. Chanson épique
13) III. Chanson à boire
Henri DUPARC (1848-1933)
12 Mélodies (1868-1884):
14) I. L’invitation au voyage (1870) [3:41]
15) II. Sérénade florentine (1880) [2:26]
16) III. La Vague et la cloche (1871)
17) IV. Extase (1874) [2:44]
18) V. Phidylé (1882) [4:29]
19) VI. Le Manoir de Rosamonde (1879) [2:19]
20) VII. Lamento (1883) [3:11]
21) VIII. Testament (1883) [3:38]
22) IX. Chanson triste (1868) [2:53]
23) X. Elégie (1874) [2:45]
24) XI. Soupir (1869) [3:09]
25) XII. La Vie antérieure (1884) [3:41]
Suggestions for albums consisting of, or including French Mélodies (Art-Songs) with solo instrument or chamber accompaniment (released around 2010 to date):
‘Néère’ / Véronique Gens/Alpha (Hahn, Duparc, Chausson)
‘Dimensionen Innenwelt’/Marlis Petersen / Solo Musica (Fauré, Duparc, Hahn)
‘Nuits’ /Véronique Gens/Alpha (Saint-Saëns, Ravel, Duparc, Lekeu, Fauré, Poulenc, Berlioz, La Tombelle, Massenet, Chausson, Liszt, Ropartz, Widor, Louiguy, Messager, Hahn)
‘Après un rêve’ / Sandrine Piau / Naïve (Fauré, Poulenc, Chausson, Bouchot, Richard Strauss, Mendelssohn, Britten)
‘Chimère’ / Sandrine Piau / Alpha (Debussy, Poulenc, Loewe, Schumann, Wolf, Gurney, Baska, Barber, Previn)
‘Soir Païen’ / Anna Reinhold, Sabine Devieilhe / Aparté (Roussel, Caplet, Koechlin, Debussy, Hüe, Ibert, Delage, Emmanuel, Ravel, Gaubert)
‘Invitation au Voyage’ / Stéphanie d’Oustrac /Ambronay (Duparc, Debussy, Hahn, La Presle, Lili Boulanger
Reynaldo Hahn - Mélodies / Tassis Christoyannis / Bru Zane
Lili & Nadia Boulanger - Mélodies / Cyrille Dubois / Aparté
Saint-Saëns - Mélodies / Tassis Christoyannis / Aparté
Debussy - Mélodies / Stéphane Degout / Sophie Karthäuser / Harmonia Mundi
‘Secrets’ / Marianne Crebassa / Erato (Debussy, Ravel, Fauré, Duparc, Say)
Gounod - Mélodies / Tassis Christoyannis / Aparté
La Tombelle - Mélodies / Tassis Christoyannis / Aparté
‘Histoires Naturelle’ / Stéphane Degout / B-Records (Poulenc / Ravel)
Félicien David - Mélodies / Tassis Christoyannis / Aparté
Lalo - Mélodies / Tassis Christoyannis / Aparté
La Tombelle - Mélodies / Yann Beuron / Bru Zane
(CD 3 of 3, part of ‘Portraits’ series – Volume 5)
Satie - Mélodies / Holger Falk / MDG
Godard - Mélodies / Tassis Christoyannis / Aparté
