Non ! Non ! Je Ne Veux Pas T'ecouter Plus Longtemps
Le Nom De Cette Belle Enfant?
De Grace, Demeurez !
Quelqu'un !.. C'est Mon Cousin Tybalt !
O Nuit ! Sous Tes Ailes Obscures Abrite-moi !
L'amour ! L'amour !... Ah ! Leve-toi, Soleil !
Helas ! Moi, Le Hair !
Ecoute ! On Vient !
De Qui Parlez-vous Donc ?
O Nuit Divine !
Ah ! Ne Fuis Pas Encore !
Adieu Mille Fois !... Va ! Repose En Paix !
Track Listings (24) - Disc #2
Mon Pere ! Dieu Vous Garde !
Dieu Qui Fit L'hommie A Ton Image !
Romeo ! Tu Choisis Juliette Pour Femme ?... O Pur Bonheur !
Depuis Heir Je Cherche En Vain Min Maitre !
Que Fais-tu, Blanche Tourterelle
Ah ! Ah ! Voici Nos Gens !
Quell Rage ! Vertudieu !
Allons ! Tu Ne Connais Pas, Tybalt
Que Le Diable Soit De Vos Deux Maisons !
O Jour De Deuil ! O Jour De Larmes !
Le Duc ! Le Duc !
Ah ! Jour De Deuil Et D'horreur Et D'alarmes
Va ! Je T'ai Pardonne ... Nuit D'hymenee
Romeo ! Qu'as-tu Donc ?
Juliette ! ah ! Le Ciel Soit Loue !
Quoi ! Ma Fille, La Nuit A Peine Est Achevee
Que L'hymne Nuptial Succede Aux Cris D'alarmes
Mon Pere ! Tout M'accable !
Buvez Donc Ce Breuvage
Dieu ! Quel Frisson Court Dans Mes Veines ?
Amour Ranime Mon Courage
Track Listings (19) - Disc #3
I. Introduction - Entree Du Corps Des Joailliers
II. La Fiancee Et Les Fleurs- Entree Da La Jeune Fiancee
III. Valse Des Fleurs- Entree Des Jeunes Filles
IV. Danse De La Fiancee
V. La Jeune Fille Au Voile
VI. Danse Bohemienne
No.18 Wedding Procession No.18a Wpithalamium
Frappez L'air, Chants Joyeux
Ma Fille, Cede Aux Voeux Du Fiance
La Haine Est Le Berceau De Cet Amour Fatal !
No.20 Entr'acte - No.20a Scene
Eh! Bien ! Ma Lettre A Romeo ?
No.21 Juliet's Sleep - No.22 Scene And Duet
C'est La !..Salut ! Tombeau ! Sombre Et Silencieux !
O Ma Femme ! O Ma Bien-aimee !
A Toi, Ma Juliette !
Console-toi, Pauvre Ame
This wonderful recording makes quite a case for what is often considered a rather sugary opera. Gounod's tale of the unfortunate Veronese couple can seem terribly artificial in some hands--a series of love scenes connected... more » by choruses and chatter--but Plasson obviously respects the score and, while the opera is still no threat to Shakespeare, it comes across as a truly dramatic retelling. And it doesn't hurt to have two young voices as the young lovers: Gheorghiu, with her grainy, textured soprano, is not the chirpy soubrette who too frequently is cast in this role; and her real-life husband, Roberto Alagna, here actually lives up to his hype, singing with style, class, and ringing tone (all the way up to the optional high C with which he ends the third act). The rest of the cast is excellent, singing in idiomatic French and taking the drama seriously as well. This set is a beauty, sugar and all, and is recommended to all fans of fine singing. --Robert Levine« less
This wonderful recording makes quite a case for what is often considered a rather sugary opera. Gounod's tale of the unfortunate Veronese couple can seem terribly artificial in some hands--a series of love scenes connected by choruses and chatter--but Plasson obviously respects the score and, while the opera is still no threat to Shakespeare, it comes across as a truly dramatic retelling. And it doesn't hurt to have two young voices as the young lovers: Gheorghiu, with her grainy, textured soprano, is not the chirpy soubrette who too frequently is cast in this role; and her real-life husband, Roberto Alagna, here actually lives up to his hype, singing with style, class, and ringing tone (all the way up to the optional high C with which he ends the third act). The rest of the cast is excellent, singing in idiomatic French and taking the drama seriously as well. This set is a beauty, sugar and all, and is recommended to all fans of fine singing. --Robert Levine
"Plasson is a noted interpreter of French repertoire, and it shows. Gheorghiu, and Alagna present themselves very well and make the characters very believable. Ghoerghiu's voice is so exciting in this version, and she fully develops the character."
Better than live
drommie1810 | VA Beach, Virginia United States | 03/18/2001
(4 out of 5 stars)
"For once an opera recording is better than the live performance. While Alagna has a lovely sound and good height even on the top of his voice, the fact remains he's rather "small" vocally for large operatic stages. However, he comes across wonderfully in this recording, where his tone is greatly helped by not having topush to be heard over his wife. Gheorghiu, with her sharp attack and powerful voice, doesn't fare so well in recordings. There is a bit of that odd, over-amplified sound that one often gets with studio recordings of large voices; one really needs space for her to sound her best. Overall, the orchestra was technically good, but somehow lacking in feeling. Also, the tempo for the "Juliet's waltz" in Act 1 sounds very odd. Being just a hair too fast for comfortable listening, it feels as though it's being played at the wrong speed. The low point for Gheorghiu is definately the iffy chromatic scale in the waltz and some interesting liberalities she takes with rests, though some of her runs are spectacularly clean. It's too bad she has to scale back her voice so much to sing with Alagna, there's so much intensity in her voice. The high point of the recording, especially for a student or serious listener, is the beautiful diction throughout the recording. Every syllable is clean and precise, both a joy to listen to, and a great help for study."
The best Romeo
Juan Henríquez | Canary Islands, Spain | 01/31/2003
(5 out of 5 stars)
"Well... again Roberto Alagna. Everybody talks about him, his technique... I have had the opportunity to see him live on stage and it is an absolutely experience to enjoy his ART. I hate people who is always thinking in the singers of the past. No words to describe the exciting of his singing during the last act, live or in studio. Gheorghiu is perfect singing Juliette. But the main theme is Roberto Alagna; singing Romeo, Nemorino, Don José, Werther, Edgardo ... he is teaching a new way to sing, with the heart in the hands. Thanks Roberto for your art. If you have not see him live on stage, don't lose time."
Dramatic, Beautiful And Moving
Dolores Zoch | 02/16/2006
(5 out of 5 stars)
"ABOUT THIS RECORDING:
Roberto Alagna [Roméo] ** Angela Gheorghiu [Juliette] ** José van Dam [FrIAR Laurent] ** Marie-Ange Todorovitch [Stéphano] ** Simon Keenlyside [Mercutio] ** Alain Fondary [Capulet] ** Claire Larcher [Gertrude] ** Daniel Galvez Vallejo [Tybalt] ** Guy Flechter [Benvolio] ** Didier Henry [Pâris] ** Till Fecnher [Grégorio] ** Alain Vernhes [The Duke] ** Ch?ur et Orchestre du Capitole de Toulouse ** Michel Plasson
This is the last recording of Gounod's Romeo Et Juliette we are likely to see. From 2000-2001, this also is the soundtrack to the film version. The Shakespearean classic tale of doomed love and the power it had to reconcile two feuding families in Renaissance Verona, Italy was a moving theatrical work of opera earlier in the 20th century and most especially in the 19th century. Traditionally, the voices of Romeo and Juliet have been sung by lighter, lyric voices trained in the art of French opera, particularly the operas of Gounod. In a 60's recording we find a young Franco Corelli and Mirella Freni as the lovers and to me, these two have most convincingly sung the lovers with flawless vocal technique and dramatic abilities. In a mid 90's recording you have Placido Domingo and Ruth Anne Sweson. Another winner as Domingo and Swenson get into character and have the lyricism and French style so suited to the opera. This recording, however, thanks to the efforts of Plasson's Gaellic conducting and dramatic treatment of the score and the dramatic, vibrant and beautiful voices of the leads, we get another winner.
All opera lovers with the inside scoop know that Roberto Alagna and Angela Gheorghiu are real-life husband and wife. Singing the famous lovers Romeo and Juliette must have been a pleasure for them and a piece of cake. Their commitment to each other and to themselves as artists is evident and their chemistry is electric. I'm not a learned opera scholar or voice coach but I have to say they sound amazing and they really get into character, with perhaps just slightly more emphasis on the voice. They make beautiful music together. The duets in this opera are plenty and they are unbelievably beautiful, erotic, seductive, enchanting. The Balcony Scene Duet (O Leve Toi Soleil) and the Hymn To Night later on -after Juliet forgives Romeo for killing Tybald (Va Je Te Pardonne) are all exquisitely and dramatically sung. It is as if they are singing Puccini duets. Yes, Alagna and Gheorghiu sing with self-consciously dramatic voices and since we are living in a time where studio recordings no longer rely on natural voice alone, we can miss out on some natural singing that has passion. But for some reason, these two do have the passion in the voices and they sing with faultless musicianship and dramatic power. Gheorghiu is a consummate artist and sings all her roles well but her Juliette is a weird sort of scenario: Maria Callas singing Juliet in a big dramatic way but with some vulnerability and sweetness. I don't care for Gheorghiu especially for the reason she sounds like an unbeatable Maria Callas imitator. Alagna sings great but he is obviously influenced and nearly imitating Franco Corelli and another scenario: Pavarotti as Romeo ? He sings like Pavarotti at times. I don't like this recording more than the Domingo/Swenson version though. I feel Domingo and Swenson genuinely want to act more than just sing beautifully. But this one is lovely too.
Jose Van Dam sings Friar Laurence. He is amazing. The voice has not aged or gotten worse. It is rich, deep and saintly for the part. He has done a number of roles over the years and each time gets into character. Van Dam is still a terrific bass-baritone, able to sing such diverse repertoire as Mozart and Verdi. This is one of his best roles on recording. Simon Keenlyside, another Mozartian tenor, sings with great gusto and bravura as Mercutio. We genuinely feel for his tragic fate and he is not just a silly goofball. He's a tragic idealist/dreamer.