Bartók: Duke Bluebeard's Castle, Sz. 48, Op. 11

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Bartók: Duke Bluebeard's Castle, Sz. 48, Op. 11



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Release date:

29th Oct 2007




57 minutes


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Bartók: Duke Bluebeard's Castle, Sz. 48, Op. 11

(Opera in One Act - Libretto by Béla Balázs) Sung in Hungarian

Gustáv Belácek (bass) & Andrea Meláth (mezzo-soprano)

Bournemouth Symphony Orchestra, Marin Alsop

This recording was made after the Bournemouth Symphony Orchestra’s end-of-season concert, described by The Times as “a spectacular finale… A knockout dramatic punch; feverishly beautiful orchestral playing; two characters, the Duke and his new wife Judith, tactile and writhing, deeply felt… Alsop inspired the Bournemouth players to excel”.



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Bela Bartok: A Kekszakallu herceg vara (Bluebeard's Castle), Op. 11, BB 62

Megerkeztunk (We have arrived) (Bluebeard, Judith)

Ez a Kekszekallu vara! (This is Bluebeard's castle!) (Judith, Bluebeard)

Nagy csukott ajtokat latok (I see large closed doors) (Judith, Bluebeard)

Jaj! (1. Ajto) (Oh! (Door 1)) (Judith, Bluebeard)

Mit latsz? (2. Ajto) (What do you see? (Door 2)) (Bluebeard, Judith)

O be sok kincs! (3. Ajto) (Oh, how much treasure! (Door 3)) (Judith, Bluebeard)

Oh! Viragok! (4. Ajto) (Oh, flowers! (Door 4)) (Judith, Bluebeard)

Nezd, hogy derul mar a varam (5. Ajto) (See how my castle brightens (Door 5)) (Bluebeard, Judith)

Csendes feher tavat latok (6. Ajto) (I see a silent white lake (Door 6)) (Judith, Bluebeard)

Az utolsot nem nyitom ki (I won't open the last one) (Bluebeard, Judith)

Tudom, tudom, Kekszakallu (I know, I know, Bluebeard) (Judith, Bluebeard)

Lasd a regi asszonyokat (7. Ajto) (Look at the women of the past (Door 7)) (Bluebeard, Judith)

BBC Music Magazine

January 2008


“…the performance is greatly helped by fine playing from the Bournemouth Symphony Orchestra, and Alsop's sweepingly dramatic view of the score. The vocal contributions, however, are less distinguished.”

Financial Times

“Alsop and the Bournemouth Symphony Orchestra prove worthy interpreters of Bartók’s psyco-drama. Alsop bathes the score in an impressionist glow, dark and glistening. She gives her excellent soloists… ample room to define the drama, while tightening the screws where appropriate, making for a suitably chilling climax.”

Gramophone Magazine

February 2008

“…this Bluebeard is more than good enough to introduce a great and compelling work but if pressured to choose while ignoring of the price-tag I would opt for John Tomlinson's Bluebeard under Bernard Haitink.”

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