Bizet Orchestral Suites
View record and artist detailsRecord and Artist Details
Composer or Director: Georges Bizet
Label: Philips
Magazine Review Date: 12/1994
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 442 128-2PH
Tracks:
| Composition | Artist Credit |
|---|---|
| (L')Arlésienne - Suites |
Georges Bizet, Composer
Georges Bizet, Composer Orchestre de Paris Semyon Bychkov, Conductor |
| Carmen |
Georges Bizet, Composer
Georges Bizet, Composer Orchestre de Paris Semyon Bychkov, Conductor |
Composer or Director: Georges Bizet
Label: Philips
Magazine Review Date: 12/1994
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 442 128-4PH
Tracks:
| Composition | Artist Credit |
|---|---|
| (L')Arlésienne - Suites |
Georges Bizet, Composer
Georges Bizet, Composer Orchestre de Paris Semyon Bychkov, Conductor |
| Carmen |
Georges Bizet, Composer
Georges Bizet, Composer Orchestre de Paris Semyon Bychkov, Conductor |
Author: Christopher Headington
The two L'Arlesienne suites arranged from Bizet's incidental music and the corresponding ones from Carmen are well represented in the catalogue, and it may as well be mentioned straight away that the most stylish and finely recorded disc of this repertory is that by Charles Dutoit and the Montreal Symphony Orchestra. Semyon Bychkov has a splendid French orchestra at his disposal and these performances are well disciplined; nevertheless, I find them sometimes rather stiff, not least in the ''Prelude'' to the first L'Arlesienne set, which is short on momentum—though there are impressive wind solos and some shapely phrasing. The ''Carillon'' fails to convey a really joyful impulse, and the ''Pastorale'' in the Second Suite is distinctly slow-motion in effect (as is the opening section of the ''Farandole'', though not what follows). Yet the charge of over-deliberation does not always apply, and the ''Minuetto'' that comes second in this First Suite is pleasingly sprightly. In the ''Adagietto'', too, one appreciates Bychkov's subtle moulding and textures. But some strictures continue to apply when one listens to this L'Arlesienne as a whole. There is much fine individual and section playing (cool flutes, bassoon and harp, for example, in the ''Intermezzo'' of the Second Suite), but finesse of detail is too often achieved at the expense of a natural flow, and spontaneity is somehow lacking.
Happily, Carmen goes much better, with Bychkov and his orchestra understanding and conveying its even more southern passion and correspondingly darker colours, and its seductiveness, too. The recording is excellent—full-toned, yet fully detailed, as ''Toreadors'' demonstrates. That said, the glowingly recorded Dutoit and his Montreal team are even more cuttingly idiomatic in this music, while theirL'Arlesienne has much more Gallic vivacity.'
Happily, Carmen goes much better, with Bychkov and his orchestra understanding and conveying its even more southern passion and correspondingly darker colours, and its seductiveness, too. The recording is excellent—full-toned, yet fully detailed, as ''Toreadors'' demonstrates. That said, the glowingly recorded Dutoit and his Montreal team are even more cuttingly idiomatic in this music, while their
Bizet Orchestral Suites
Bizet Orchestral Suites
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