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Antony Walker & Pinchgut Opera - Marc-Antoine Charpentier: David & Jonathan (2009)

Classic | Author: SELMER | 16-03-2018, 10:13
Antony Walker & Pinchgut Opera - Marc-Antoine Charpentier: David & Jonathan (2009)
Artist: Antony Walker & Pinchgut Opera
Title Of Album: Marc-Antoine Charpentier: David & Jonathan
Year Of Release: 2009
Label: ABC Classics
Country: Australia
Genre: Classical
Quality: FLAC (*image + .cue, log, artwork)
Bitrate: Lossless
Time: 01:59:54
Full Size: 633 MB


CD 1
01 - PROLOGUE. Ouverture
02 - Ou suis-je? qu’ai-je fait?
03 - Dois-je enfin eprouver le secours de vos charmes?
04 - Retirez-vous affreux tonnerre
05 - Quelle importune voix vient troubler mon repos?
06 - C’est assez! ai-je enfin epuise ta colere?

07 - Marche triomphante
08 - Du plus grand des heros publions les exploits
09 - Allez, le ciel jaloux
10 - Ciel! quel triste combat en ces lieux me rappelle?
11 - Toi dans qui j’esperois toujours
12 - Le ciel enfin favorable a mes v?ux

13 - Prelude
14 - Quel inutile soin en ces lieux vous arreste?
15 - Depit jaloux, haine cruelle
16 - A vostre bras vainqueur

CD 2
01 - Symphonie d'ouverture
02 - Ah! je dois assurer et ma vie et l'empire
03 - Objet d'une implacable haine
04 - David peut-il attendre un retour favorable?

05 - Prelude
06 - Souverain juge des mortels
07 - Vous me fuiez!
08 - A-t-on jamais souffert une plus rude peine?
09 - Venez, Seigneur, venez. Saul va vous attendre
10 - Enfin vous m'ecoutez, Seigneur?
11 - Rigaudon
12 - Bouree

13 - Bruit d'armes
14 - Courez, courez, Saul attend un secours necessaire
15 - Que vois-je? quoi, je perds et mon fils et l'empire!
16 - Victoire! Victoire!
17 - Qu'on sauve Jonathas
18 - Voi traitre, et reconnoi ta nouvelle victime
19 - Joignez a vos exploits l'honneur du diademe
20 - Du plus grand des heros

Pinchgut Opera, based in Sydney and founded in 2002, specializes in Baroque and Classical opera, featuring works such as Semele, The Fairy Queen, Idomeneo, and Orfeo. One of its more obscure repertoire choices is Marc-Antoine Charpentier's 1688 David & Jonathan. It's a work that's rarely performed or recorded, so this fine performance is revelatory. The libretto by Fran?ois de Paule Bretonneau generally sticks to the story as outlined in the First Book of Samuel, focusing on King Saul's enmity with David, David's friendship, (or love), for Saul's son Jonathan, and his grief over the deaths of Jonathan and Saul, but the librettist invents a villainous general, Joabel, whose jealousy triggers the fatal battle. He also adds a reunion between David and Jonathan before the latter's death, and treats their relationship as clearly romantic, which must explain Charpentier's decision to cast Jonathan as a soprano. (On the other hand, the composer may have been motivated by the need for a woman's voice in a leading role in a cast that, except for the chorus, is all-male.) Charpentier's writing is always elegant, but it is also psychologically penetrating. His orchestration is particularly apt in underscoring the drama, and his choral writing is varied and gorgeously rich.

Anders J. Dahlin, as David, is an authentic contre-haute who can negotiate the extremely high tenor part with easy assurance. His tone is ringing, warm, and rounded, with none of the tightness that can characterize more conventional tenors attempting this repertoire. He is a fine musician besides, who understands the conventions of the French Baroque, and makes the highly ornamented lines sound spontaneous and effortless. His performance is well-developed dramatically, and he makes a convincingly human David. Sara Madiwar's Jonathan is exceptionally sweet-voiced and pure. Most of the remaining principals are very fine; bass David Parkin is darkly menacing as the ghost of Samuel, and baritones Richard Anderson and Simon Lobelson are fully effective as Achis and Joabel. Dean Anderson lacks the vocal power and dramatic weight to give Saul credibility, and tenor Paul McMahon is shaky as the Witch who summons Samuel. Anthony Walker leads Orchestra of the Antipodes and the chorus Cantillation in a graceful but urgent reading of the score that is enlivened by a strong understanding of middle-Baroque French performance practice. The sound is good for a live performance, and there is minimal ancillary noise, mostly rustling page turns. This set should interest any fans of Baroque opera. -- Stephen Eddins

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