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La Damnation de Faust
This is as wonderful as it is unexpected—a truly unusual cast for La Damnation de Faust, or La dannazione di Faust, as it is presented here. The ensemble of first-rate Italian singers doesn’t attempt to capture traditional French style but instead highlights the Italianate qualities within Berlioz’s composition. Hearing the work in Italian allows one to fully appreciate the lyricism woven into his music.
Ettore Bastianini delivers one of the most superb Méphistophélès performances on record—more suave than menacing, yet still unmistakably devilish. Giulietta Simionato is simply stunning as Margherita. Were it not for the darker hues in her voice, one would never guess she was nearing the end of her career. Ruggero Bondino takes on the demanding role of Faust admirably, his voice both elegant and resilient.
Track List
Part I
1. Al vecchio inverno
2. Per gire al ballo già il pastor
3. Fiero d'armi baglior
4. Marcia ungarese
2. Per gire al ballo già il pastor
3. Fiero d'armi baglior
4. Marcia ungarese
Part II
5. Già lasciai senza duol
6. Ahimè! Canti dal ciel perchè nella sua polvere
7. Di sù, di giù sempre correva
8. Ed or posso a mia volta replicar con un canto
9. Andiam! Fuggiam da qui
10. Su queste rose dischiuse nella notte
11. Margherita! Che vidi? Che vidi?
6. Ahimè! Canti dal ciel perchè nella sua polvere
7. Di sù, di giù sempre correva
8. Ed or posso a mia volta replicar con un canto
9. Andiam! Fuggiam da qui
10. Su queste rose dischiuse nella notte
11. Margherita! Che vidi? Che vidi?
Part III
12. A te grazie, o crepuscolo
13. Essa vien...
14. C'era una volta in Thule
15. O spirite dell'incostante fiamme
16. Minuetto di folletti
17. Ed or perchè ci perde certamente
18. O ciel! È vero! È proprio lui
19. A me pur dato è alfin di conoscer la vita
13. Essa vien...
14. C'era una volta in Thule
15. O spirite dell'incostante fiamme
16. Minuetto di folletti
17. Ed or perchè ci perde certamente
18. O ciel! È vero! È proprio lui
19. A me pur dato è alfin di conoscer la vita
Part IV
20. Perduta è la mia pace
21. Natura immensa, impenetrabil, fiera!
22. Nella volta celeste puoi scorger l'astro
23. L'inferno tacque allor
24. Laus! Laus! Hosanna!
21. Natura immensa, impenetrabil, fiera!
22. Nella volta celeste puoi scorger l'astro
23. L'inferno tacque allor
24. Laus! Laus! Hosanna!
BONUS
25. Air des lettres
26. Air des larmes
Werther. Milano, 1951
Giulietta Simionato, Charlotte
26. Air des larmes
Werther. Milano, 1951
Giulietta Simionato, Charlotte
Customer Reviews
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4.3
Based on 4 reviews
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Mixed bag
I adore Berlioz and his La Damnation de Faust in particular. I also adore the voices of Giulietta Simionato and Ettore Bastianini. But this recording of a live performance from the San Carlo in Naples is a mixed bag. First, it's disappointing that in 1964 many live recordings from Italian opera houses were still light years behind the quality of such recordings in German- or English-speaking countries. (The 1950s were even worse which is very unfortunate given the great performances that Italy saw in that decade.) The dull sound quality definitely detracts from one's enjoyment of Berlioz's gorgeous and subtle score, particularly the orchestration.Second, while Simionato's voice and feeling for the music are as magical as ever--even at age 54--the same cannot be said for Bastianini who was already quite ill, just a year away from his final operatic performance and barely two years away from his death at age 44. There is sadness for me in listening to his singing here which, while adequate, does not reflect one of the most beautiful male voices of the 20th century.Finally, one lovely surprise is the work of tenor Ruggero Bondino here. What a revelation! In my opinion Berlioz tenors are a special breed with very few singers able to project both the sweetness AND the power required by the composer. Bondino sounds great here--though the poor sound quality makes an adequate evaluation difficult.Still, for Simionato, Bondino, and Berlioz, I am happy to own this CD!
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Jeffrey Ouellette
This performance in Italian is one to cherish beside your favorite French “Damnation”. Ruggero Bondino is a virile Faust - no “voix mixte” here. The role’s tessitura is no joke, and Bondino’s As and Bs ring. He does duck the two high C#s in the duet, but this is a small carp. Ettore Bastianini’s Mefisto is evil and elegant. If Regine Crespin is “la reine” among Marguerites, Giulietta Simionato’s Margarita is “la regina”. Her voice is opulent, and her solos have to be heard and reheard. Peter Maag gives a grand reading of the score, no less than Berlioz is due. Orchestral dances are given complete, choruses are heavily cut, and the big Trio is omitted (!). Sound excellent.
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