Roger Désormière News
French composer and conductor
- flute
- classical music
- France
- conductor, composer, French Resistance fighter
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2024-04-25
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2020-10-14 23:00:00
PELLEAS ET MELISANDE - GLYNDEBOURNE, GUI 1963
Claude DebussyPelléas et MélisandeHans Wilbrink (Pelléas), Denise Duval (Mélisande)Michel Roux (Golaud), Guus Hoekman (Arkel)Anna Reynolds (Geneviève), Rosine Brédy (Yniold)John Shirley-Quirk (a Doctor)The Glyndebourne ChorusThe Royal Philharmonic Orchestradir : Vittorio GuiGlyndebourne GFOCD 003-63 mono 3 CDs [P] 2009Recorded live at Glyndebourne, summer 1963 Individual FLAC files, logs, booklet, scans A Fine Cast makes for a Memorable Pelléas from Glyndebourne in 1963 As John Steane noted, welcoming Glyndebourne's 1962 Figaro, that "vintage year" saw the return to Sussex of Carl Ebert "to produce not only Figaro but also Glyndebourne's first Pelléas". Recorded here on its revival a year later, Pelléas was conducted by Vittorio Gui, 78 in 1963, whose connection with the Glyndebourne company extended back to 1948. If Gui's reading is "Italianate", this is because it gives considerable though never excessive weight to the drama's emotional intensity. The idea that Debussy's […]
2019-01-08 00:00:00
Henri Sauguet - Les Caprices de Marianne
[…] a piano suite called Trois Françaises (Three Frenchwomen) which so impressed Milhaud that he encouraged the young man to move to Paris. Arriving in October 1921, he found work as a secretary at the Guimet Museum. For some six years he studied composition with Charles Koechlin, whom he credits with helping him understand music within its own context and find his own voice. In 1923, together with three other admirers of Satie's music (Henri Clicquot-Pleyell, Roger Désormière, Maxime Jacob), Sauguet formed the 'School of Arcueil', named after the location of Satie's home. With his support, they had their first concert on 25 October 1923 at Théâtre des Champs-Elysées. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev, the flamboyant impresario of the Ballets Russes, and he wrote his first ballet, Les Roses (Roses) that year. In 1927 Diaghilev's company produced the ballet La Chatte (The Cat) with music by Sauguet, which […]
2018-10-19 23:00:00
Debussy: Pelléas et Mélisande (1941) - Désormière
Claude Debussy Pelléas et Mélisande Jacques Jansen (Pelléas), Irène Joachim (Mélisande) Henri Etcheverry (Golaud), Germaine Cernay (Geneviève) Paul Cabanel (Arkel), Leila Ben Sedira (Yniold) Emile Rousseau (Le berger), Armand Narçon (Le médecin) Chorus Yvonne Gouverne Orchestre Symphonique dir : Roger Désormière Recorded at Salle de la Conservatoire, Paris - 1941Pristine Classical XR remastering PACO063 digital download [P] 2011FLAC files, artwork Pelléas et Mélisande is one of my favorite operas, and having collected over 50 recordings, this is my favorite. It captures the misty, gloomy atmosphere of the opera perfectly, and the remastering by Pristine sounds better than any previous incarnation. Highly recommended!Fanfare Review Roger Désormière This much-reissued set has achieved classic status and, as a performance, per se, certainly deserves it. Unlike EMI and Andante, which coupled it with other historical recordings, Pristine gives you just this 1941 performance, recorded as German troops approached Paris. While you miss […]
2018-07-02 15:47:00
Pelléas et Mélisande, Glyndebourne, 30 June 2018
Glyndebourne Opera House Mélisande (Christiana Gansch), Pelléas (John Chest), Golaud (Christopher Purves)Images: Richard Hubert Smith Golaud – Christopher Purves Mélisande – Christiana Gansch Geneviève – Karen Cargill Arkel – Brindley Sherratt/Richard Wiegold Pelléas – John Chest Yniold – Chloé Briot Doctor – Michael Mofidian Shepherd – Michael Wallace Stefan Herheim (director, lighting) Philipp Fürhofer (designs) Tony Simpson (lighting) Alexander Meier-Dörzenbach (dramaturgy) Glyndebourne Chorus (chorus master: Nicholas Jenkins) London Philharmonic Orchestra Robin Ticciati (conductor) Mélisande and Golaud What might have been? Such was a thought that came to my mind more than once during this, the premiere of Glyndebourne’s new Pelléas et Mélisande. What might have been if Stefan Herheim had not changed his Konzept so late in the day? (I had actually forgotten about that until reminded during the interval, yet had already began to wonder […]
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