Product Description An admirer of Mozart and a great reformer of music education at the recently opened Paris Conservatoire (1795), Charles-Simon Catel composed in 1810 Les Bayadères, an operatic masterpiece set in India, which competed successfully with Spontinis La Vestale, which was then at the height of its popularity. Tinged with orientalism, it turns the page on Classicism and uses new musical and dramatic structures to create emotion. In a work full of action and excitement, the heroine of the opera, the bayadère Laméa a star role (then a new concept) shows remarkable presence. On his arrival in Paris in the 1820s, the young and very discerning Hector Berlioz was filled with enthusiasm by this work. Review This is an excellent ensemble performance with tight and responsive orchestral accompaniment which rises with gusto to the more modest challenges of the second act --BBC Music Magazine May 2015
D**S
Opéra français
Enregistrement d'un Opéra rare français, dans la collection du Palazetto Bru Zane
B**Y
A rarity that should be heard
FANFARE magazine gave this release a strong recommendation, and based on that I purchased it. The label, EDICIONES SINGULARES, has been recording and releasing various rare French operas, mostly from the early 19th century. Charles-Simon Catel's LES BAYADERES dates from the flowering of the Napoleonic period, 1810, thus, roughly contemporary with Spontini's LA VESTALE. As the detailed notes in the elegant book accompanying this two CD set indicate, both works exercised influence in the development of French grand opera and opera comique. But Catel is far less known. This work, certainly, is a "bridge work," in that it fills in the blanks between, say, Gluck and Gretry (and perhaps at times even Mozart) and, further into the 19th century, to Daniel Francois Auber and Meyerbeer.Like his contemporaries Mehul, Gossec, perhaps Cherubini, Catel foreshadows much of what we take for natural in later French opera. The writing for the voice is fluid, and falls easy on the ear. Indeed, it is very gracious...and ingratiating. As reviewers and the well-pointed book indicate, there are no "show stoppers" as we have become used to in works premiered later in the century. Yet, there is some very fine vocal work, all of which seems well integrated into a classically balanced, composed-through score.All the principals execute extremely well. As the opera opens there is a lightness of touch that hearkens back to early French opera. But as events unfold, a seriousness pervades the music, reflecting the denouement of the action. All through it, Catel seems inspired to give us just the right sound, producing the right ambience. And that is no small accomplishment.Orchestra, chorus, everything seem completely right. The elegant book includes several superb essays, a plot summary, a multi-lingual libretto, and track listing: in short all that one could wish for.Certainly, this is a rarity, but anyone curious about the First Empire and the music that it produced should enjoy this....
S**S
Five Stars
Great uknown french opera
F**I
Encore une belle redécouverte du Palazetto Bru Zane
Certes l'ouvrage n'est pas un chef d'oeuvre impérissable (mais combien le sont ?) : il s'écoute toutefois avec plaisir et l'enregistrement vient combler des trous dans la chronologie des compositeurs d'opéras français, nous permettant de mieux apprécier l'évolution de ce genre.
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