Customer Reviews

Claude Debussy: Le Martyre de Saint Sébastien

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Though originally a failure in its original form as a ballet/mystery play, a collaboration from Debussy, Gabriel D'Annunzio and Ida Rubenstein (who oddly assumed the role of Sébastien!), Michel Fokine and Leon Baskt, the orchestral excerpts continue to be part of the repertoire of some of the finer orchestras around the globe. Here Michael Tilson Thomas conducts the London Symphony Orchestra and Chorus and soloists in as complete a version of the musical aspects of this theatrical event as possible. The result is slightly over an hour of some truly gorgeous Debussy!

Though the movements are rather start and stop on this recording, that is not a fault: it is the nature of this episodic work. The otherworldly music feels coaxed from the inner voices of the orchestra and chorus and is superbly interpreted by Thomas. The soloists include Ann Murray, Sylvia McNair and Nathalie Stutzmann and are all excellent. Enhancing the concept of the work as a whole is the wise inclusion of the narrator (known as Recitant and Le Saint) and Leslie Caron delivers a wholly committed performance. In all, Tilson Thomas shines here.

While there are other recordings of the shorter Symphonic Fragments of this work, namely the recording by Esa-Pekka Salonen and the Los Angeles Philharmonic with Dawn Upshaw and Paula Rasmussen which is perfection, having the option of this total experience is well worth adding the recording to your library. Highly Recommended. Grady Harp, September 05

People who think Debussy wrote only two great works (La Mer & Clair de lune) should hear this breathtaking oratorio. It has evrything in it-- Ectstasy, mysticism, gorgeous arias for soprano, elegant, dramatic yet peaceful narration in perfect French, colorful orchestration. This is Debussy at his most religious. Even if you do not care about the topic of Martyrdom, etc, you should hear it for the beauty of this music. There is not a single second of uninteresting music here.

I've enjoyed this disc than everything I have heard in the last year or so. Michael Tilson Thomas is a great conductor indeed - the best of his generetion along with Sir Simon. His orchestra - the LSO - is at top form, the soloists are magnificent and it's beyond any doubt that you can not find a match for this piece. Most of the times there are some passages as a fill-ups in some Debussy discs ( Baremboim's account on DG is one of them) but there is so much more to that music. A joyful experience. A must for any classical music lover.

At first I thought I would hate this reading of Martyre because it didn't look particularly good on paper. Sure, it's toned down, but it's British and the performance standards are high. Thomas makes the difference, and it seems he's rehearsed his forces to an inch of their lives.

We have to kiss the text goodbye--the feeling just isn't there--but D'Annunzio's medieval five tableux structure is effectively handled, and at least some of the D'Annunzian richness shines through along with the astounding music. The cast handles all this the best it can and makes something of it once in awhile.

I have to correct Mr. Cody on a couple of things: Cardinal Amette and the Paris chancery would love you to think Martyre was a flop, but it wasn't at all. Parisians fell over each other to get tickets, just as Americans went nuts with "Mondo Cane", "Women of the World" and "Bocaccio '70". If you read the old papers from 1912, Martyre was a great event, ballyhooed as a great achievement by Rubenstein and her company.

Count de Montesquiou rather orchestrated public opinion: he used tough methods to suppress those who would slander Debussy and D'Annunzio and defame Rubenstein (we're talking about intercepted love letters and a host of other indiscretions that the Count used as collateral to keep opponents under control, Bourget being one who should have known not to cast stones). Performances were packed. Toscanini loved it and immediately asked Debussy and D'Annunzio for it to take to La Scala where it triumphed. Revue Bleu kind of gave it problems, but essentially the papers said "nice try, beautiful staging, Rubenstein was divine." It was revived at the Opera in 1957 where it made a great impression. I don't remember who conducted but it may have been Louis Fourestier or Jean-Michel LeConte.

All that said, this is very listenable and a good account of the work. If you want eloquence, try Charles Munch on an old RCA mono vinyl disk narrating from D'Annunzio while his Boston Symphony plays and Kopleff and Curtin sing--superb. If you want a more technicolor version, well-acted and played, get Bernstein's version which Amazon also offers. It's one of Lenny's best productions.

This is a stunning and glorious rendering of a little known but without doubt one of Debussy's most brilliant works. I was amazed at Mark McCue's remark that "the feeling just isn't there." We cannot be listening to the same CD. Everything about this oratorio and this recording of it is rich in emotion. It is hard to imagine orchestral and choral writing more infused with feeling. And how could anyone listen to Leslie Caron deliver these lines and say the feeling just isn't there? Absurd. And this performance is absolutely splendid. Tilson-Thomas has evoked a nearly perfect performance from the whole cast: orchestra, chorus, soloists, and narrator. The singing of all three soloists is simply breathtaking. Start to finish, this recording will send chills down your spine. This is a must have for anyone who loves Debussy and who cherishes a rich musical experience.

To me this is quite a departure from Debussy's usual, more recognized compositions (la Mer, Clair de Lune, Prelude to the Afternoon of a Faun). A bit heavy-duty in spots but a unique combination of orchestra, chorus, solo and duet voices and narrative. The narrative is in French, which I don't understand, but will be meaningful to those people who do. Not "easy listening" or background music for your morning workout. This is a sit-down-listen-on-purpose piece for 66 minutes. The soloist, Ann Murray, is not the Ann Murray that comes to mind.

A beautiful musical work by the master. Oddly, not often heard. This happens to be one of those rare "hidden masterpieces". Ms Caron is excellent. A good add to any collection.

Claude Debussy's music is many things, but one dimension that is mostly absent is spiritualism and religion. The exception to this pattern is the incidental music which the composer quickly wrote in 1911 for the play "The Martyrdom of St Sebastian" by the flamboyant Italian writer Gabriele a'Annunzio. This was a work I had heard before through its excerpted Symphonic Fragments but, until this disc, never in its original form. I found it to be a beautiful, peaceful, mostly very quiet work with an atmosphere different from many of Debussy's other compositions.

The Martyrdom has almost exclusively been heard either as Fragments or in a modified form arranged for concert with voices. The prominent conductor Michael Tilson Thomas instead opted to present the work in its original form, something which I think works very well and for which he deserves great credit. Keep in mind that the narrator, Leslie Caron, at times speaks (incants?) over orchestral or choral passages. That added to the atmosphere for me, but potential listeners should note the fact.

The performance is generally excellent, with accurate, sensitive conducting by Tilson Thomas and the London Symphony (which has a very good track record with impressionist music, by the way). Particularly noteworthy is some exquisite singing by soprano Sylvia McNair, including some lovely passages in the second section, "The Magic Chamber", which are high in her range.

I would recommend this disc strongly to those with a taste for turn-of-the-century music, although not for people just getting a taste for Debussy or Ravel. Recorded sonics are quite good, with a tinge of brightness. Generally, a beautiful disc and a real event in the discography of French music.

The disk was difficult to obtain, but it was a nice surprise to find it in the original packing and in pristine condition.