Berlioz: Benvenuto Cellini (First recoding of the original Paris Version)

Hector Berlioz (Composer), John Nelson (Conductor), Orchestre National de France (Orchestra), Gregory Kunde (Performer), Patrizia Ciofi (Performer), Joyce DiDonato (Performer), Jean-François Lapointe (Performer), Laurent Naouri (Performer), Renaud Delaigue (Performer), Eric Huchet (Performer) | Format: Audio CD

Product Details

• Performer: Gregory Kunde, Patrizia Ciofi, Joyce DiDonato, Jean-François Lapointe, Laurent Naouri, et al.
• Orchestra: Orchestre National de France
• Conductor: John Nelson
• Composer: Hector Berlioz
• Audio CD (January 11, 2005)
• SPARS Code: DDD
• Number of Discs: 3
• Label: Virgin Classics
• ASIN: B00030FJA8
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (9 customer reviews)
• Amazon Best Sellers Rank: #133,343 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

25 of 25 people found the following review helpful:

5.0 out of 5 stars A Brilliant Achievment, January 28, 2005

By 

D. A Wend (Arlington Heights, IL USA) - See all my reviews
(TOP 1000 REVIEWER)    (REAL NAME)   

This review is from: Berlioz: Benvenuto Cellini (First recoding of the original Paris Version) (Audio CD)

This recording is an important achievement in restoring the first edition of Hector Berlioz's Benvenuto Cellini as the composer envisioned it. Prior to this recording, the best version was by Colin Davis based upon the second version of the opera (to which Berlioz had made many cuts) and the Weimer edition (staged by Liszt that had made further cuts). The recording by Colin Davis has been my favorite of any opera for the casting and charm. The new version, conducted by John Nelson, will take its place at the side of the Davis version.

Remarkably, the original score and orchestra parts had been preserved by the Paris Opera since the first performance in 1838. What makes this new recording so special are several restorations: the original, longer overture, an aria (number 1) by Balducci in the first scene, a Romanza (number 3) by Teresa that was replaced by a Cavatina that is included as a supplementary number, a Romance composed for Cellini is also included in the appendix and several other large and small changes that adds about 30 minutes to the opera. An interesting change for me was scene 11, where Fieramosca and Pompeo plot to abduct Teresa in place of Cellini. In the Davis, version (following the Opera-Comique) this is spoken dialogue but in the new version it is sung. The Davis version (with Robert Massard) has more humor in the scene with the characterization of the bumbling Fieramosca coming off better. On the other hand, scene 25, where Fieramosca threatens Cellini works well with the music as it recalls earlier themes of Fieramosca's boasting. The Nelson version is nicely sung but the characters do not come off as quite as comic. I did miss some of the sound effects that had been included in the Davis recording, like the sound of swords in the duel between Pompeo and Cellini.

The casting is superb. Gregory Kunde is a wonderful Cellini; his voice is nicely suited to this role and he brings to the part all of the heroic character that Nicolai Gedda did. Balducci is beautifully sung by Laurent Naouri with a great feel for the comic aspects of the role, as excellent as Jules Bastin from the Davis cast. Patrizia Ciofi has a voice of great sweetness that makes her a good choice for Teresa. Joyce di Donato is a great Ascanio and Renaud Delaigue is a lofty presence as Pope Clement VII. Jean-Francois Lapointe makes a good bumbling Fieramosca, Cellini's rival for Teresa and always in the wrong place at the wrong time. The Chorus of Radio France could not be better. John Nelson guides the Orchestra of Radio France through this difficult score with assurance and great feeling for Berlioz's music. The full brilliance of Benvenuto Cellini with the composer's original intentions is now revealed. This set is a must for lovers of Berlioz.

16 of 16 people found the following review helpful:

5.0 out of 5 stars Great recording of an underated masterpiece!, October 21, 2005

By 

D. J. Edwards "donaldjedwards" (Cheshire, CT United States) - See all my reviews
(REAL NAME)   

This review is from: Berlioz: Benvenuto Cellini (First recoding of the original Paris Version) (Audio CD)

The subtleties and complexities of this score have worked against the performance of this opera from its very conception. As a consequence, there are several versions of this score. So it is fortunate that we now have Benvenuto Cellini more or less as Berlioz himself conceived it. I think it is a very beautiful score and only one other recording has been tried in the studio, that on Philips with Colin Davis. To him is due all credit and highest honors for his pioneering effort with this opera, Nelson is the second conductor to take on this work in the studio and does so without any apologies as this performance is stunning. There have been very mixed reviews on this recording. Gregory Kunde is just about Gedda's equal. His tone is sweet, strong, full and agile. I don't hear the strain or unpleasant tone quality that some have complained about. Joyce di Donato as Ascanio sings with glorious tone and interpretation. She makes her music greater than it might be in lesser hands. She is superior to Berbie on Davis' recording. All the other roles are very well sung and equal to their predecessors on the Davis release. On hearing the orchestration played at its intended tempo, one can understand how the singers of the premiere must have been overwhelmed by its demands. They were apparently inadequate to start with. But Berlioz's demands are surmountable as Davis convincingly proved and now Nelson proves beyond any doubt. The role of Teresa seems to be a difficult role to fill. I never much cared for Eda-Pierre in the 1st recording and although Ciofi is an improvement, I would prefer a soprano with a richer timber and steadier voice. In duets and ensembles she does hold her own rather well. The sound is excellent and this belongs on the shelf next to Colin Davis. Personal taste will dictate the order on that shelf. At least listen to it. It deserves the attention of all berlioz fans.

20 of 22 people found the following review helpful:

5.0 out of 5 stars Excellent recording of an underperformed work, January 28, 2005

By 

Steven Muni "Foothills Bear" (Sutter Creek, CA USA) - See all my reviews
(REAL NAME)   

This review is from: Berlioz: Benvenuto Cellini (First recoding of the original Paris Version) (Audio CD)

Berlioz' Benvennuto Cellini was a critical and commercial failure in its day, and even the later revision was not greated with much enthusiasm. It lay unperformed for decades, until 1972. This latest version uses the original Paris Opera version, restoring lots of great music to the revised version. This opera has wonderful orchestral music as well as great arias and marvelous choruses, and conductor John Nelson brings out the best in all his artists--particularly necessary here, as this opera requires an extremely high degree of technical expertise from singers, chorus and orchestra alike.
American tenor Gregory Kunde does a first-class job with the high and ardent title role, (although his French is not as good as Nicolai Gedda's, who recorded the role in 1972). The rest of the cast is excellent, (and being French, lend an authenticity to the performance that more than makes up for any linguistic lapses by the lead character.) My only minor complaint is that the sound mix emphasizes the orchestra a little too much at the expense of the singers--however, as this is an opera in which the orchestra is as much a partner as any of the singers, that's not too great a fault. It belongs in any opera-lovers collection.