Verdi the Phoenix

I haven’t been posting here much lately and I’m about to go away for two weeks so I thought I should put something here so you know I’m still around. Whoever you are mysterious internet personage.

And, since it’s his centenary year, I thought a quick post about Giuseppe Verdi was in order. As it happens I read an interesting story about him last night which I think is worth relating. For the record my source is 1001 Classical Recordings to Hear Before You Die, edited by Matthew Rye.

So Verdi’s first opera was only moderately successful and his second was a total flop. That in itself is somewhat surprising given he is one of the opera composers, but it’s also a little encouraging to know even the greats can start out not-so great. Following that disaster however he had a much worse tragedy occur, his wife and two children all died. I can’t imagine something like that happening but his declaration to never compose again doesn’t seem too surprising.

This is where it gets good. Someone must have thought he was worth encouraging to keep going because they snuck a libretto into his coat pocket. It was for an opera based on Nebuchadnezzar, or Nabucco. When he read the passage which has become the famous Chorus of Hebrew Slaves, it fired his imagination and reignited his passion for composing and he wrote what is now a major part of the opera repertoire and went on to become the success he was. Out of the ashes.

Now, as I’ve said, I’m not a huge opera fan, but the Chorus of Hebrew Slaves is a wonderful piece in itself – I know nothing else of Nabucco – and very moving. (I regret not knowing who are performing it in the video linked here, they sing it well.)

There are a couple of other Verdi pieces I’d like to talk about but they can wait for another time. In the meantime, remember tragedy doesn’t have to be permanent, and a little encouragement can go a long way, so if you think someone needs it a nudge may be in order.

Classic 100 Music of France - Day 5

Two great symphonies in today's countdown. Franck's opened proceedings this morning and it was quite a journey I must say. From the brooding opening chords to the celebration of light at the conclusion. A real journey and good fun. And from that straight into Saint-Saens' second piano concerto which is simply brilliant in its shifts from light poetry to strong declamation then back to dancing instruments and all seamlessly. The second symphony was Bizet's which is a sheer joy to listen to.

Keeping with new pieces (for me), Chabrier's Espagna was a jolly jaunt with Spanish flair. Interesting just how many pieces were written by non-Spanish people inspired by the country. I love that Franck wrote his violin sonata as a wedding present for a violinist who managed to take the score and play it at the wedding. The slow movement seemed strangely sorrowful and I don't think the rest of the piece is entirely lovey-dovey but it's mostly celebratory, at least of violin playing. Overall I prefer the cello version but I prefer cello in general so that's to be expected.

Despite comments from the announcers about Faure being boring, I found his Cantique de Jean Racine to be one of those tranquil pieces you can really just stop the world and listen to.

And my wish from yesterday came true! Giselle came in, what a treat that was. Great story behind it, and the music really rocks along. Then a second ballet with Ravel's Daphnis and Chloe. I'd only heard the second suite before today which doesn't do the whole work justice. As a whole it weaves a spell that can't function as well when it's broken into pieces.

A few more operas made it in today. Interesting to note Offenbach used the can-can in his Orpheus in the Underworld as well as in Gaite Parisiene. Gounod's Faust was a bit different and quite nice. I love the Bacchanale from Samson et Delilah too, it's fantastic. But I'm still not an opera fan overall despite the beautiful music between the main singing. Sorry opera buffs.

From here it's tempting to start predicting the rest of the pieces to come in. So here it is - in no particular order - my predictions. Happy to be wrong.

1. Debussy – Suite de Bergamasque
2. Debussy – Pavane ... Faun
3. Debussy – Submerged Cathedral
4. Debussy – Girl with the Flaxen Hair
5. Debussy – La Mer
6. Ravel – Pavane for a Dead Princess
7. Ravel – Bolero
8. Ravel – String Quartet
9. Ravel – Piano Concerto
10. Faure – Pavane
11. Faure – Requiem
12. Delibes – Lakme
13. Delibes – Coppelia
14. Satie – Gymnopedies
15. Satie – Gnossiennes
16. Saint-Saens – Danse Macabre
17. Saint-Saens – Carnival of the Animals
18. Saint-Saens – Organ Concerto
19. Dukas – Sorcerer’s Apprentice
20. Bizet – Carmen
21. Bizet – Pearl Fishers
22. Bizet – L’Arlsienne
23. Berlioz – Symphonie Fantastique
24. Massenet – Thais
25. Poulenc – Sextet
26. Offenbach – Tales of Hoffmann
27. Faure – Bereceuse, Op 16
28. Ravel – Tzigane

Daniel Auber

So the next French composer to catch my fancy is Daniel Auber - yes the alphabet is a powerful influence on the order of things. I haven't forgotten Adolphe Adam either, I just skipped him cause that was weeks ago for me.

Auber was predominantly an opera composer and mainly wrote comic ones. From what little I can gather that fits his personality, a kind, witty man who was prominent in French society for much of the 19th century. Now it seems his music is reduced to fragments for the most part. Quick searches bring up overtures and arias as parts of compilation recordings. It looks like the operas get some performances but I don't think they're big on most companies' repertoires.

I'm not a huge fan of opera arias but I do love overtures and Auber seems to have written some good ones. The Bronze Horse seems to have been picked up by military bands now and the link on the Classic 100 voting page leads to a video recording of a live performance by one such band. It's good but fortunately there was another link on that page which leads to a full orchestral version - the BBC Philharmonic - and I'd recommend it. It's light, lively and engaging.

One interesting thing that's turned up in terms of the voting list is the option to vote for Masaniello and The Mute Girl of Portici - when they're the same opera. Guessing whoever collates the votes will be aware of that. The two youtube links are thankfully different, one of them however is a video of an LP being played and it has the sound quality you'd expect. There is another version of it I found - it being the overture by the way - which is still an LP but it was put up properly and does sound okay. It's here.

In all not a composer I'll be exploring too much, not being an opera fan per se, but I'm very glad to have found out about these overtures.