La captive (2013)

Berlioz

Lisa Larsson

Antonello Manacorda

 

Have you ever heard of Jean-Baptiste Guirod, Giullaume Ross-Despréaux or Eugène Prévost? Apart from Prévost, perhaps, they have mostly been consigned to the depths of oblivion. But these were composers who won the coveted Prix de Rome, an award that had been instituted by Napoleon himself in 1803, in the period from 1827 to 1829. And in doing so, they whipped the prize right out from under the nose of Berlioz, who had competed for it just as often as they had. It might offer Berlioz some – posthumous – solace to know that he was in excellent company; Ravel, Debussy and Bizet were also to be denied the prize. The judging system for the prize, which offered little scope for groundbreaking composers, has come in for severe criticism over the years. In the words of Edgar Varèse, the prize ‘produced so much insipid fruit that nowadays we can barely even remember their names’. It was Berlioz himself, in his highly readable and entertaining autobiography, who explained all about the prize’s requirements and what the prize itself involved. The winner received an allowance for five years, but this was on condition that he would spend the first two years at the Académie de France in Rome, use the third year for travelling through Germany and survive the remaining two years ‘doing what he could to promote himself and avoid dying from hunger’ in Paris. 

Before winning the prize in 1830 with the fairly scholastic cantata La mort de Sardanapale, Berlioz had already submitted attempts in the form of La mort d’Orphée (1827), Herminie (1828) and La mort de Cléopâtre (1829). In 1827, his Mort d’Orphée had been condemned as unplayable by the pianist who had to perform the piano reduction – one of the jury’s requirements. Berlioz seems to have been slightly more successful in the following year: the piano version of Herminie was admittedly playable, but the work was outstripped by the submission made by Ross-Despréaux and only came second. The cantata Herminie would survive, however, not least because Berlioz derived the idée fixe from his Symphonie Fantastique from the work. The cantata, to a text by Pierre-Ange Vieillard, was inspired by Tasso’s ‘Gerusalemme liberata’. This was an epic set during the Crusades, recounting the tale of the Christian knight Tancredi and his love for the Muslim warrior Clorinda. In the passage set by Berlioz, the central figure is Princess Erminia of Antioch, who was also in love with Tancredi. She leaves Jerusalem – dressed in Clorinda’s armour – to aid Tancredi, who has been wounded following a duel with the Muslim knight Argantes

Read more

Lisa Larsson

Following an early career as a flautist, Swedish soprano Lisa Larsson  studied singing in Basel, Switzerland. During her first engagements, at the Zurich Opera, she worked with conductors such as Franz Welser-Möst  and Nikolaus Harnoncourt. After her debut with Riccardo Muti at La Scala  di Milano, she quickly established herself internationally, in particular  as a Mozart interpreter, performing Pamina, Susanna, Ilia, Zerlina, Zaide,  Servillia, Fortuna and Ismene. She has appeared at renowned European  opera-houses including the Royal Opera House Covent Garden, Teatro la Fenice, the Bavarian State Opera, the Grand Théatre de Génève, the Opéra de Monte Carlo, the Leipzig Opera, the Theater Basel, the Royal Swedish Opera, the Royal Danish Opera as well as at the Salzburg Festival, the Lucerne Festival, the Glyndebourne Festival and the Festival d’Aix-en-Provence. Equally at home on the concert platform, Lisa Larsson is internationally renowned for her diversity and artistry. 

Recently added repertoire includes works by Brahms, Berlioz, Mahler,  Richard Strauss, Britten, Stravinsky as well as contemporary composers.  She has performed with many of today’s most notable conductors,  including Claudio Abbado, Sir Colin Davis, David Zinman, Edo de Waart,  Daniel Harding, Adam Fischer, Mikhail Pletnev, Antonello Manacorda,  Lawrence Renes, Massimo Zanetti, Louis Langrée, Andrew Manze,  Douglas Boyd, Juanjo Mena and Vassily Sinasky, in collaborations with  orchestras such as the Berlin Philharmonics, the Frankfurt Radio Symphony Orchestra, the Munich Philharmonics, the Zurich Tonhalle Orchestra, the Vienna Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Stockholm Philharmonics, the Nederlands Philharmonics, the Hong Kong Philharmonics and the NHK Orchestra, Tokyo. 

Antonello Manacorda

Antonello Manacorda has been Principal Conductor of Kammerakademie Potsdam since 2010 and Principal Conductor of Het Gelders Orkest in The Netherlands since 2011. He also has many regular guest conducting relationships which include the Frankfurt Radio Symphony, BBC Philharmonic, Sydney Symphony and Orchestra della Svizzera Italia. He has also worked with a number of other orchestras including the Scottish Chamber Orchestra, Zürich Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker and Staatskapelle Weimar. In the coming seasons he will be conducting the Helsinki Philharmonic, Orchestre National du Capitole de Toulouse and Gothenburg Symphony. 

 

Manacorda has also been a regular guest at the Aldeburgh Festival appearing there in 2008, 2010 and 2012. From 2003-06 Antonello Manacorda was Artistic Director for chamber music at the Académie Européenne de Musique du Festival d’Aix en Provence. His first appointment as principal conductor was in 2006 with I Pomeriggi Musicali in Milan. 

Het Gelders Orkest

 

Tradition and innovation – two key features of the Arnhem Philharmonic Orchestra. In the tension created between these two concepts, we pass on our passion for live classical music to young and old alike. Eighty-five musicians come together in a major, authoritative symphony orchestra at the highest level. The orchestra’s ambition is to bring enjoyment of live symphonic music to audiences in Gelderland and beyond. This is why we organise 100 symphonic concerts each year, alongside family concerts, educational concerts and special participation projects for amateur musicians. We also record several (live) CDs every year. Through these activities, the Arnhem Philharmonic Orchestra reaches an audience of more than 400,000 people. The orchestra’s innovative activities set it apart and have won it a large number of accolades. The Arnhem Philharmonic Orchestra recently introduced its “LAB” series, a breeding ground for musical initiatives. The youthful and successful Antonello Manacorda has been Chief Conductor of the Arnhem Philharmonic Orchestra since 2011.

Read more

La captive (2013)

Berlioz

Lisa Larsson

    Pizzicato

A first-rate CD production with Swedish soprano Lisa Larsson’s great, flexible and expressive voice. She sings with intensity in the dramatic scenes and shows moving intimacy in other passages, notably in ‘La mort de Cléopâtre’. The accompanying orchestra performs in an equally exciting manner, so that we only can recommend this recording which gives Berlioz his genuine French colors.

    De Volkskrant

Larsson heeft een gebenedijde stem: Goed gefocust, vol kleur en ze leunt op een veerkrachtig legato.

    Musicalifeiten

Trots mogen we ook zijn op de zeer geëngageerde en goed verzorgde begeleidingen van het Arnhemse orkest dat eindelijk weer eens de gelegenheid krijgt zich voor een groter publiek te manifesteren. Juist daarom had het programma best wat langer mogen duren.

La captive (2013)

Berlioz

Lisa Larsson

Cables: Siltech Mono Crystal
Digital Converters: dCS
Mastering Engineer: Bert van der Wolf
Mastering Equipment: Avalon Acoustic
Microphones: Sonodore
Producer: Bert van der Wolf
Recording Engineer: Bert van der Wolf, Brendon Heinst
Recording location: Musis Sacrum, Arnhem, Holland
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

Quality & Channel Selection
Select Quality and Channels to calculate the price below More info

Quality

  • DXD
  • 64fs
  • 128fs
  • 256fs

Channels

For albums, lower DSD bit rates (128 and/or 64) are available at no surcharge. This does not apply for DXD selection.
Album Download duration price
CC72639: La captive
00:48:34   Select quality & channels above
Tracks.
1.
Herminie, scene lyrique recit - Quel trouble te poursuit
Berlioz
00:03:39   Select quality & channels above
2.
Herminie, scene lyrique Air- Ah! Si de la tendresse
Berlioz
00:03:33   Select quality & channels above
3.
Herminie, scene lyrique Recit- Que dis-je?
Berlioz
00:01:15   Select quality & channels above
4.
Herminie, scene lyrique Air- Arrete! Arrete! Cher Tancrede
Berlioz
00:05:09   Select quality & channels above
5.
Herminie, scene lyrique Air- Venez, venez, terribles armes!
Berlioz
00:01:54   Select quality & channels above
6.
Herminie, scene lyrique Priere- Dieu des chretiens
Berlioz
00:05:35   Select quality & channels above
7.
La captive, Op. 12
Berlioz
00:07:27   Select quality & channels above
8.
La mort de cleopatre - Allegro vivace con impeto - Recit. C'en est donc fait!
Berlioz
00:03:16   Select quality & channels above
9.
La mort de cleopatre - Lento cantabile. Ah! Qu'ils sont loin ces jours, tourment de ma memoire
Berlioz
00:06:07   Select quality & channels above
10.
La mort de cleopatre - Meditation. Largo misterioso. Grands Pharaons, nobles Lagides
Berlioz
00:03:57   Select quality & channels above
11.
La mort de cleopatre - Allegro assai agitato. Non!... non, de vos demeures funebres
Berlioz
00:06:42   Select quality & channels above

User Reviews

Other albums from this label