John Matheson

Conductor

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Joseph Rouleau sings French Opera

Joseph Rouleau sings French Opera

Decca Most Wanted Recitals Vol. 37


Bizet:

Tra, La, La, Tra, La La!...Quand la flamme d'amour (from La jolie fille de Perth)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Borodin:

Greshno tait, ya skuki ne lyublyu (from Prince Igor)

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Glinka:

Ivan Susanin (A Life for the Tsar): They Guess the Truth

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Gounod:

Vous qui faîtes l'endormie (from Faust)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Massenet:

Dors, O cité perverse...Astres étincellants (from Hérodiade)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

La Vièrge entend fort bien (from Le jongleur de Notre-Dame)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Meyerbeer:

Piff, paff (from Les Huguenots)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Mussorgsky:

Dostig Ya Vyshey Vlasti (from Boris Godunov)

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Kak vo gorode bylo vo kazani (from Boris Godunov)

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Rimsky Korsakov:

Song of the Viking Guest (from Sadko)

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Rubinstein:

Ia tot, katóramu vnymála (from The Demon)

sung in Russian

Raphael Arié (bass)

L´Orchestre de la Société des Concerts du Conservatiore de Paris, Alberto Erede

Thomas, Ambroise:

Je comprends que la belle aime le militaire (from Le Caïd)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Verdi:

Elle ne m'aime pas! (from Don Carlos)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson

Palerme, o mon pays...O toi, Palerme (from Les Vêpres siciliennes)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden, John Matheson


Decca Most Wanted Recitals - 4808174

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Joseph Rouleau Sings French Opera

Joseph Rouleau Sings French Opera


Decca - 4787208

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Verdi: La Forza del Destino

Verdi: La Forza del Destino

(original St Petersberg version)


Martina Arroyo (Leonora di Vargas), Peter Glossop (Don Carlo), Kenneth Collins (Don Alvaro), Don Garrard (Padre Guardiano), Janet Coster (Preziosilla), Derek Hammond-Stroud (Fra Melitone), Roderick Kennedy (Il Marchese di Calatrava), Philip O’Reilly (Un Alcalde), Kenneth Bowen (Maestro Trabuco), David Fieldsend (Un Chirurgo)

BBC Singers, BBC Concert Orchestra, John Matheson

“Martina Arroyo is grandly passionate and in full command” BBC Music Magazine

“This marks the final offering from Opera Rara's laudable restoration of BBC broadcasts from the 1970s and '80s of Verdi's first thoughts on specific operas, and it is quite up to the standard of the series. It differs only in being given without an audience, and was broadcast two years after the recording.
On disc we know the 1862 original Forza from Gergiev's Philips set recorded, appropriately enough, in St Petersburg. That version is by and large finely cast with Russian singers and excitingly conducted, but this one, featuring British artists and one North American, need hardly fear the comparison. John Matheson may be a slightly more measured interpreter than Gergiev but he is perhaps even more adept at disclosing the many subtleties in shaping the slightly sprawling score as a unified whole. His orchestra provides fine playing – special praise for the first clarinet before Alvaro's Act 3 solo – and the BBC Singers nicely characterise their roles.
Alvaro, an even more taxing role than in the better-known revised version for Milan, is superbly sung by Kenneth Collins: Bergonzi and Domingo apart, no other tenor in the late 20th century was as ideal for the part. Collins, a true spinto, makes light of the demands, and sings with unstinting strength and an innate sense of Verdian style, a suitable souvenir of a singer so little represented on disc.
Martina Arroyo, also on Gardelli's EMI recording of 12 years earlier, is a profoundly sympathetic, even-voiced Leonora: she really sings her heart out. As the implacable Don Carlo, Peter Glossop remains an appreciable Verdian. His tone had loosened a little by 1981 but he splendidly conveys the avenging brother's wrath, particularly in his fiery encounter with Alvaro in Act 4.
Like Collins, Don Garrard and Derek Hammond- Stroud were then singing the revised version at the Coliseum. The much-admired Canadian bass sings with depth and authority as Padre Guardiano, and Hammond-Stroud in one of his favourite roles makes Melitone more than a mere buffo but rather a hot-headed, obtuse friar, as he should be. Janet Coster fills most of the considerable demands of Preziosilla's role and it is good to be reminded of the stalwart tenor Kenneth Bowen and of Roderick Kennedy's sturdy bass. All sing with exemplary Italian.
The recording has breadth and presence. The booklet is lavish though the skimpy note seriously underestimates the differences between this and the more famous revision, and it is a pity there are no biographies: the singers are hardly well known to most younger Verdi enthusiasts. But these complaints are of little consequence when the performance is so inspiriting and dedicated on all sides.”
Gramophone Classical Music Guide, 2010

Summer Opera Sale

Opera Rara - ORCV304

(CD - 3 discs)

Normally: $46.00

Special: $36.80

Usually despatched in 2 - 3 working days.

Verdi: Don Carlos (Five-act French version)

Verdi: Don Carlos (Five-act French version)

Original 1867 version


Joseph Rouleau (Philippe II), André Turp (Don Carlos), Robert Savoie (Rodrigue), Edith Tremblay (Elizabeth de Valois), Michelle Vilma (La Princesse Eboli), Gillian Knight (Thibault), Richard Van Allan (Le Grand Inquisiteur), Emile Belcourt (Le Compte de Lerme), Geoffrey Shovelton (Un Hérault Royal), Prudence Lloyd (Un Voix d'en Haut), Robert Lloyd (Un moin)

BBC Singers & BBC Concert Orchestra, John Matheson

This set comes with a 300 page illustrated booklet which, as well as containing the libretto and synopsis in Italian, German, French and English, also has an introductory note by Andrew Porter

“This set is utterly necessary in any collection” Classics Today

“This is part of Opera Rara's invaluable issues of first versions of Verdi's operas, broadcast on BBC Radio 3 in the 1970s. It is given by a cast of largely Francophone singers, who make it sound – at last – like the truly French work it is.
Text first: we have the complete Fontainebleau scene, a short solo for Posa at the beginning of scene 2, a longer version of the Posa-Philippe scene in Act 2, the costume-changing of Elisabeth and Eboli, their duet before 'O don fatal' in Act 3, the whole of the ballet, the full Insurrection scene, and the longest version of the finale.
That adds up to almost four hours. No wonder Verdi either made or sanctioned cuts. However, this enthralling set makes out the best case for this fullest of all versions, its considerable length quite forgotten on account of John Matheson's thoughtful, vital direction, every detail of the vast canvas given its due and played (and sung) finely by the assembled BBC musicians.
The Carlos, André Turp, often at Covent Garden, he did nothing better than this portrayal of the sorely tested and unhappy Infante. His voice, full of emotional plangency, his well crafted phrasing and the sheer passion of his delivery make him ideal. As the tormented, dictatorial Philippe, Joseph Rouleau also surpasses himself vocally and dramatically, so we are at once angered by his tyrannical ways and saddened by his inner misery. Robert Savoie, the Rodrigue/Posa, does not have quite the vocal resources of his confrères, but he gives an honest, deeply felt account of a taxing part.
Edith Tremblay is a gloriously committed Elisabeth.
She does not give a traditionally 'star' performance but one that is ideally aligned with the character. Her singing, especially of her big Act 5 solo, is full of natural, true feeling. The Eboli of Michèle Vilma is also a reading to treasure, replete with all the equivocal feelings of that erring character and sung with gratifying confidence. Richard Van Allan, the sole 'foreigner' in a main part, commands the French language and, with Rouleau as antagonist, makes the scene of the Grand Inquisitor and King, the clash of Church and State, the riveting confrontation it should be.
The recording is well balanced and has plenty of presence but careless digitalisation can lend a rather hard quality to some of the voices, although that is easily forgotten in the dedication of a unique occasion.”
Gramophone Classical Music Guide, 2010

“…this enthralling set makes out the best case for this fullest of all versions, its considerable length quite forgotten on account of John Matheson's thoughtful, vital direction, every detail of the vast canvas given its due and played (and sung) finely by the assembled BBC musicians. ...André Turp... did nothing better than his portrayal of the sorely tested and unhappy Infante. His voice, full of emotional plangency, his well crafted phrasing and the sheer passion of his delivery make him ideal. As the tormented, dictatorial Philippe, Joseph Rouleau also surpasses himself vocally and dramatically, so we are at once angered by his tyrannical ways and saddened by his inner misery. Edith Tremblay is a gloriously committed Elisabeth.” Gramophone Magazine, October 2006

Summer Opera Sale

Opera Rara - ORCV305

(CD - 4 discs)

Normally: $61.50

Special: $49.20

Usually despatched in 2 - 3 working days.

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