I bought this 2 LP classic set in 1965, and to me these two artists have always epitomized perfection in this wonderful duet -- in sheer beauty and pure classicism a pinnacle of Berlioz' work, of French music, of immortal art. Thank you for posting
This is a glorious recording, one which I have not been without since it came out in 1965 on EMI vinyl. Thank heaven it has been re-released on CD. This is the twilight of the distinctly French sound, both in the glorious voices and in the specific character of the Paris Opera orchestra. Since the Opera became an international house, everything changed- the loss of that distinctly French sound. How I wish they had recorded the entire opera instead of excerpts- it is one of the greatest operas!
They can't be compared ! Both renditions are great. I love Susan Graham and Gregory Kunde. But I find Régine Crespin and Guy Chauvet marvellous. Both great singers whom I keep in my heart.
I disagree. Chauvet is too "lightweight," not virile enough, for this role. And his handling of the text is way too superficial. Does he even know what he is saying, even though it's his native language? We are talking about Aeneas, the founder of Rome! A voice between his and Vickers or Del Monaco is called for here. Bryan Hymel comes close to perfection. And Crespin, while beautiful, does not come close to Susan Graham in expressing the profound feelings that Berlioz points to--once again, even though the text is in her native French.
@@jamesnickoloff6692 She has one bit of odd pronunciation, too. Anchises pronounced in French is ‘Ahn-shi-zuh. She keeps the Latin ‘ki’. The basic problem with this unmoving performance is, I think, that the tempo is too fast by quite a bit.
@@jamesnickoloff6692 Régine Crespin does not come close to Susan Graham? I beg to differ. My only problem with Chauvet is not that he is too lightweight, because this duet is mainly lyrical, but that his high notes (the b flats, mainly) are too stiff, not those of a spinto tenor.
The balance between these two exquisite voices is breathtaking. Thank you for posting this page. They represent the French school of singing at its best.
Although this is perhaps the greatest duet in French opera, it has been seldom recorded, and this is unquestionably the best recording of it, ever. Georges Prêtre's conducting finds the exact balance between stasis and a floating propulsivity that suggests the breezes of the night. Great posting.
I agree. There are some beautiful renditions of this duet, but the Graham-Kunde version is one of the most ravishing moments of musical poetry I've ever heard.
Graham and Kunde, yes. But I was fortunate (blessed!) to hear Lorraine Hunt-Lieberson and Ben Heppner at the opening night of the Met's production in 2004. And don't neglect Dame Janet Baker's several "live" recordings.
On ne peut pas comparer avec les enregistrements récents, la technique a évolué, mais quels interprètes !! Et surtout quelle admirable musique de rève, quelle féérie orchestrale qui ouvrira la voie aux compositions futures......
@AulicExclusiva This is, indeed, a magical recording, the best of a few. I can't help but be surprised that this duet was seldom recorded. A part of me wishes Georges Thill had recorded it... but I realized this afternoon while reading his singing chronology that he had sung 'Les Troyens' only 6 times... one in 1929 with Germaine Lubin and Marisa Ferrer and 5 times in 1930 with Marisa Ferrer again... A duet Thill/Ferrer...
C'est une raison peut-être pour laquelle en 1932 le fameux crack de THILL sur le SI.b DU LIED D'OSSIAN...n'à pas été réenregistré ça il fallait RÉENREGISTRER TOUT L
...tout l'acte ..or le reste était très bien et il a préféré ne fairecqu'une prise ... NINON VALLIN ÉTAIT -ELLE AUSSI D'ACCORD POUR TOUT REPAS DE ?? PAR Ailleurs mon père qui était un superbe ténor 1/2 caractère vers 1947 ...1950 chantait aux TROUBADOURS MONTA GNARDS DE TARBES IL avait une voix superbe avec des aigus qui 30 ou 35 ans après sans jamais ré chanter étaient impressionnants..Il disait que Le JEUNE G CHANT AVAIT UNE BELLE VOIX ALORS ..IL GAGNA LES VOIX D OR PLUS TRD MAIS NE TRAVAILLA PEUT-ÊTRE ASSEZ ENSUITE SA VOIX ? MON PÈRE. . LUI NE DISPUTA PAS LA FINALE DES VOIX D OR QUELQUES ANNEES AVANT CAR C'ÉTAIT EN 1948 JE PENSE ET IL FALLAIT AVOIR MOINS DE 30 ANS. Or de 1937 à 1947..il était mobilisé.. Dans les années 60 il chantait un peu au cercle lyrique du PRINTEMPS DE PARIS ... .il était devenu SPINTO et impressionnant de beauté vocale ...et de facilité du médium au contre ut ou ut dièse ... Mais quand nous avons entendu G CHANT dans OTELLO ( Strasbourg
Suite ....ENTENDU GUY CHAUVET DANS OTELLO EN FRANÇAIS - STRASBOURG- C'ÉTAIT BEAU ... ICI IL RESTE L'ACCENT BIGOURDAN ET DES AIGUS UN PEU SERRES. . IL FÛT EN ITALIEN UN SUPERBE RADAMES ...A VERONE NE CROIS ..IL AVAIT IMPRESSIONNE ELUZALYRICS.
@AlmaWinemiller Marisa Ferrer, unfortunately, never made commercial recordings. Her radio recording with Beecham is the only souvenir of her remaining. I wish Paul Franz had recorded both the scene and the duet: he sung in Les Troyens at the Opéra in the early 20s. The Didon of those performances, Georgette Frozier-Marrot, did record what for many years was the only version of the final scene. But Franz never recorded one note from the opera.
@AulicExclusiva I would have loved to hear Marisa Ferrer singing other parts. I found a picture of her a while ago, I think it is from Strauss' Rosenkavalier... Did she ever sing Octavian's part? I keep meaning to post her final scene from Les Troyens, but I always forget... We were born a bit too late, weren't we? All these great singers whose art we only have glimpses... Hearing Paul Franz' Enée, that would have been something indeed.
@AulicExclusiva I tend to forget that singers were already contracted at the time... The lengendary enmity between Ninon and Georges... a "big baby" was he? ;-) Still Vallin/Thill for this duet would have been great, it's true.
@AlmaWinemiller That didn't stop him from making his famous record of Énée's grand scene. A two-sided version with Lubin would have been something! But they were under contract to different companies: Lubin La Voix de son Maître, Thill Columbia. A version with Ninon Vallin would have been great too, but they hated each other.
Nothing? I hver know what to make of such absolute statements. This can compare-and I actually thought Graham and Hymel were just terrific the other day. IMO the one you refer to makes much less out of this great music than is there-nice enough-but hardly ecstatic enough-and I don't like Gardiner's conducting
I bought this 2 LP classic set in 1965, and to me these two artists have always epitomized perfection in this wonderful duet -- in sheer beauty and pure classicism a pinnacle of Berlioz' work, of French music, of immortal art. Thank you for posting
This is a glorious recording, one which I have not been without since it came out in 1965 on EMI vinyl. Thank heaven it has been re-released on CD. This is the twilight of the distinctly French sound, both in the glorious voices and in the specific character of the Paris Opera orchestra. Since the Opera became an international house, everything changed- the loss of that distinctly French sound. How I wish they had recorded the entire opera instead of excerpts- it is one of the greatest operas!
"Italie!! Italie!!" What a masterstroke at the end. I'm so grateful that I lived long enough to hear two fine staged performances of Les Troyens.
quelle classe et celle de Georges Pretre, immense chef d'orchestre...
They can't be compared ! Both renditions are great. I love Susan Graham and Gregory Kunde. But I find Régine Crespin and Guy Chauvet marvellous. Both great singers whom I keep in my heart.
Agree completely
I disagree. Chauvet is too "lightweight," not virile enough, for this role. And his handling of the text is way too superficial. Does he even know what he is saying, even though it's his native language? We are talking about Aeneas, the founder of Rome! A voice between his and Vickers or Del Monaco is called for here. Bryan Hymel comes close to perfection.
And Crespin, while beautiful, does not come close to Susan Graham in expressing the profound feelings that Berlioz points to--once again, even though the text is in her native French.
@@jamesnickoloff6692 She has one bit of odd pronunciation, too. Anchises pronounced in French is ‘Ahn-shi-zuh. She keeps the Latin ‘ki’. The basic problem with this unmoving performance is, I think, that the tempo is too fast by quite a bit.
@@ransomcoates546 Thanks for pointing these things out. Odd for a native speaker of French to mispronounce the language!
@@jamesnickoloff6692 Régine Crespin does not come close to Susan Graham? I beg to differ.
My only problem with Chauvet is not that he is too lightweight, because this duet is mainly lyrical, but that his high notes (the b flats, mainly) are too stiff, not those of a spinto tenor.
Tous les deux inoubliables dans "Les Troyens"
J'écoute en boucle, quelle merveille !
Merci pour ce duo magnifique et magique.
The balance between these two exquisite voices is breathtaking. Thank you for posting this page. They represent the French school of singing at its best.
Berlioz , he was a romanticus, beautiful music and performance
duo extatique, musique incomparable
Crespin Chauvet le Nec plus ultra du chant merciiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
Vous l'avez connu à TARBES ?? quand il débutait le chant ..pendant son service militaire ?
Eluzalyrics
inoubliable duo !!!
Mon dieu quelle émotion !
+Gérard Mignon Oui : emotions érotiques, le désir monte et monte encore
Et avec les oreilles vous faites quoi?
:)))))))) excellent..
Des TROYENS d’anthologie,merci
Although this is perhaps the greatest duet in French opera, it has been seldom recorded, and this is unquestionably the best recording of it, ever. Georges Prêtre's conducting finds the exact balance between stasis and a floating propulsivity that suggests the breezes of the night. Great posting.
mamma mia!
Régine et Guy a la folie
I agree. There are some beautiful renditions of this duet, but the Graham-Kunde version is one of the most ravishing moments of musical poetry I've ever heard.
@AulicExclusiva You're building a dream record collection, aren't you? ;-) Suzanne Balguérie... another singing legend.
Graham and Kunde, yes. But I was fortunate (blessed!) to hear Lorraine Hunt-Lieberson and Ben Heppner at the opening night of the Met's production in 2004. And don't neglect Dame Janet Baker's several "live" recordings.
On ne peut pas comparer avec les enregistrements récents, la technique a évolué, mais quels interprètes !! Et surtout quelle admirable musique de rève, quelle féérie orchestrale qui ouvrira la voie aux compositions futures......
Mais il n'y a pas de trucages..
Eluzalyrics
Regine, la grande damme du chante francais!!!!
@AulicExclusiva This is, indeed, a magical recording, the best of a few. I can't help but be surprised that this duet was seldom recorded. A part of me wishes Georges Thill had recorded it... but I realized this afternoon while reading his singing chronology that he had sung 'Les Troyens' only 6 times... one in 1929 with Germaine Lubin and Marisa Ferrer and 5 times in 1930 with Marisa Ferrer again... A duet Thill/Ferrer...
C'est une raison peut-être pour laquelle en 1932 le fameux crack de THILL sur le SI.b
DU LIED D'OSSIAN...n'à pas été réenregistré ça il fallait RÉENREGISTRER TOUT L
...tout l'acte ..or le reste était très bien et il a préféré ne fairecqu'une prise ... NINON VALLIN ÉTAIT -ELLE AUSSI D'ACCORD POUR TOUT REPAS DE ??
PAR Ailleurs mon père qui était un superbe ténor 1/2 caractère vers 1947 ...1950 chantait aux TROUBADOURS MONTA GNARDS DE TARBES
IL avait une voix superbe avec des aigus qui 30 ou 35 ans après sans jamais ré chanter étaient impressionnants..Il disait que Le JEUNE G CHANT AVAIT UNE BELLE VOIX ALORS ..IL GAGNA LES VOIX D OR PLUS TRD MAIS NE TRAVAILLA PEUT-ÊTRE ASSEZ ENSUITE SA VOIX ? MON PÈRE. . LUI NE DISPUTA PAS LA FINALE DES VOIX D OR QUELQUES ANNEES AVANT CAR C'ÉTAIT EN 1948 JE PENSE ET IL FALLAIT AVOIR MOINS DE 30 ANS.
Or de 1937 à 1947..il était mobilisé..
Dans les années 60 il chantait un peu au cercle lyrique du PRINTEMPS DE PARIS ... .il était devenu SPINTO et impressionnant de beauté vocale ...et de facilité du médium au contre ut ou ut dièse ...
Mais quand nous avons entendu G CHANT dans OTELLO ( Strasbourg
Suite ....ENTENDU GUY CHAUVET DANS OTELLO EN FRANÇAIS - STRASBOURG-
C'ÉTAIT BEAU ...
ICI IL RESTE L'ACCENT BIGOURDAN ET DES AIGUS UN PEU SERRES. .
IL FÛT EN ITALIEN UN SUPERBE RADAMES ...A VERONE NE CROIS ..IL AVAIT IMPRESSIONNE
ELUZALYRICS.
Et lire ..mon père avait connu G CHAUVET
JEUNE A TARBES..
ELUZALYRICS
Il n'était pas BIGOURDAN mais resta au moins 2 ans à TARBES ..
ELUZALYRICS
@AlmaWinemiller Marisa Ferrer, unfortunately, never made commercial recordings. Her radio recording with Beecham is the only souvenir of her remaining.
I wish Paul Franz had recorded both the scene and the duet: he sung in Les Troyens at the Opéra in the early 20s. The Didon of those performances, Georgette Frozier-Marrot, did record what for many years was the only version of the final scene. But Franz never recorded one note from the opera.
@AlmaWinemiller And think of Suzanne Balguérie in a complete recording of Didon's Death Scene! Alas.
Lovely recording, certainly. But nothing can compare to Kunde-Graham in this piece. They come second to none.
@m0e4g2 You are very welcome! There is indeed something breathtaking about this recording.
@AulicExclusiva I would have loved to hear Marisa Ferrer singing other parts. I found a picture of her a while ago, I think it is from Strauss' Rosenkavalier... Did she ever sing Octavian's part? I keep meaning to post her final scene from Les Troyens, but I always forget...
We were born a bit too late, weren't we? All these great singers whose art we only have glimpses... Hearing Paul Franz' Enée, that would have been something indeed.
@AulicExclusiva I tend to forget that singers were already contracted at the time...
The lengendary enmity between Ninon and Georges... a "big baby" was he? ;-) Still Vallin/Thill for this duet would have been great, it's true.
@AlmaWinemiller That didn't stop him from making his famous record of Énée's grand scene. A two-sided version with Lubin would have been something! But they were under contract to different companies: Lubin La Voix de son Maître, Thill Columbia. A version with Ninon Vallin would have been great too, but they hated each other.
Hélas nous ne l'avons pas ....
Eluzalyrics
very hard to beat Alagna and Giorgio
Graham better than Regine Crespin? Really?
Nothing? I hver know what to make of such absolute statements. This can compare-and I actually thought Graham and Hymel were just terrific the other day.
IMO the one you refer to makes much less out of this great music than is there-nice enough-but hardly ecstatic enough-and I don't like Gardiner's conducting