Georges BIZET
(1838-1875)
Carmen (highlights)Teresa Berganza; Plácido Domingo;
Sherrill Milnes ; Ileana Cotrubas.The Ambrosian Singers and London Symphony
Orchestra conducted by Claudio Abbado
Symphony No. 1 Orchestra National de France conducted by Jean
Martinon L'Arlésienne Suites 1 and 2 London Symphony
Orchestra conducted by Claudio Abbado
Agnus Dei José Carreras; Wiener Sängerknaben;Wiener
Symphoniker conducted by Uwe Christian Harrer
Je crois entendre encore Plácido Domingo;Los Angeles
Philharmonic Orchestra conducted by Carlo Maria Giulini
"C'est toi"…"Au fond du temple saint" Gregory Cross and
Gino Quilico; Orchestra Symphonique de Montréal conducted by Charles
Dutoit.
DG PANORAMA 2CDs 469
121-2
[146:21]
Crotchet
This double album encompasses many of Bizet's most popular works. All these
recordings are reissues dating back to the 1970s and early 1980s. Some are
analogue to digital conversions not that this should cause any concern for
the sound is universally very good.
Abbado's compulsive, well-driven Carmen dates from 1978. Domingo, although
in fine ardent voice, somehow misses the expressive opportunities that Don
José's plight provides and I felt that although Teresa Berganza has
beautiful tone and clarity, and some sensuality, she is too careful, too
studied; (a colleague described her, in this role, as an up-market Carmen).
I missed the necessary fire the role demands. One critic commented that Ileana
Cotrubas "is not always as sweet and steady as she can be". Maybe this new
refurbishment has ironed out some quirks because I have little to complain
about. Sherrill Milnes makes a fine virile matador.
Clearly there are many versions of Carmen; my preference is Beecham (with
De los Angeles and Gedda) and Prêtre (Callas and Gedda again). The
Maazel set on Erato is very good too, with Domingo joined by a smouldering
Julia Migenes.
Martinon's reading of the delightful melodic (this work truly brims with
good tunes) and sunny Symphony in C Major, is rather too hurried in the first
movement; but overall it is warm and inviting enough. Again, however, I prefer
other versions especially that of Beecham -- so lyrical, so full of panache.
Abbado scores highly with his readings of the two L'Arlésienne
Suites. The rather rustic march of the first movement of Suite No. 1 has
plenty of atmosphere and comic pomposity and the concluding Carillon is most
beautifully phrased. Suite No. 2 has that sensual gypsy dance in its opening
movement and the charming Menuet as well as the swaggering brilliance of
its closing Farandole. Once more I cannot dismiss memories of the classic
Beecham performance.
Rounding off the set there is an affecting performance of Bizet's Agnus
Dei from Carreras (the opening of this piece sounds curiously like an
extension of the L'Arlésienne music), and Domingo's equally impressive
rendering of 'Je crois entendre encore' from Les Pêcheurs de
perles. And from the same opera, CD2 ends with the well-known duet for
tenor (Gregory Cross) and baritone (Gino Quilico) - "Au fond du temple saint"
Carmen: 
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L'Arlésienne
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Symphony 
Others
Ian Lace
