Benvenuto Cellini - Norrington An authentic live performance of a seldom-heard masterpiece with world-famous Roger Norrington leading a talented young continental cast. Issued in celebration of the 2006 Berlioz Year at the Royal Albert Hall, London. When Liszt became music director at Weimar, one of his first initiatives was the revival of Benvenuto Cellini , which had disappeared after four performances at the Opéra over 1838–39. Berlioz revised the score, retaining its original order of scenes and two-act format, and the work was successfully given in March 1852. For further performances in November, however, Liszt suggested abbreviating some of the dramatic entanglements of the second act and making Cellini a three-act work. To accommodate him, Berlioz, conducting in London, authorized the changes while shifting several numbers he did not wish to lose, thus making a dramaturgical hodgepodge. Alterations also ran to the tissue of the music, with Berlioz ironing out the rhythmic audacities of the Opéra score to facilitate the Weimar performance. The result begins well but tends to scrappiness after the Roman carnival scene, making an absurdity of the drama—the casting of Perseus takes but an hour rather than the day given in the Paris version—and lessening Cellini’s stature from hero to blustering blowhard. But with the publication of the Weimar version—in Germany in 1856 and by Choudens in 1863—the expedients adopted for a particular performance became, so to speak, set in stone. As David Cairns remarked, “As it is, we are justified in regarding ‘Benvenuto Cellini’ as one of those works about which their authors never said the last word.” If the Weimar version is less than satisfying in terms of narrative, motivation, and pacing, Berliozian coruscations can still light the way to thrilling theater. Considering the disarray in which Berlioz left the score, the recording industry has dealt handsomely with Benvenuto Cellini . Colin Davis’s pre-Sir 1972 recension triumphantly recreated the comique version—i.e., with spoken dialogue—Berlioz initially had in mind as he composed the bulk of the music, incorporating improvements from the Opéra and Weimar revisions (Philips 416 955, Fanfare 12:4). A generation on, John Nelson’s 2005 recorded performance (Virgin 45706, Fanfare 28:5), drawing on archival material—including a half-hour of music unavailable to Davis—recreated the Paris Opéra version while also incorporating Berlioz’s additions for Weimar to offer the fullest presentation of Cellini yet. But here is Sir Roger Norrington’s go at the Weimar version, in French—presumably because performing materials were readily available and required no musicological judgment calls. The booklet affords no explanation, no annotation, offering a synopsis in three languages and the French libretto with English translation. The performance picks up speed only as it goes. The overture lurches without sparkle or élan. The first act’s grumbling fugato drags rather than percolates. Laura Claycomb is brilliant, confirming that Teresa is blonde, though Frank Hawlata’s Balducci and Christopher Maltman’s Fieramosca are under-characterized. The electricity usually accompanying Cellini’s entrance is missing. Ekkehard Wagner’s Innkeeper is a standout, though he doesn’t efface the memory of Hugues Cuénod’s cajoling wheedler (for Davis), from whom Wagner has evidently taken lessons. The Goldsmiths’ Anthem is studied rather than the incandescent burst it can be in avid hands. And so on. Norrington seems tired, while the generally unobtrusive audience applauds star turns and scene ends dutifully, without enthusiasm. Not until the Roman carnival do the fireworks begin—the performance slips into gear and goes for broke as the first-act malingerers step boldly into their roles, the pace quickens, colors blaze, Berliozian nervosité crackles, and, rife with suspense, tension escalates as the plot tautens to the too-brief but still whelming conclusion with the reprise of the Goldsmiths’ Anthem lifting, at last, into Dionysian affirmation. The aroused audience is warmly responsive, and you, too, may come to the end cheering.

BERLIOZ: Benvenuto Cellini Op. 23 (Weimar version)   2:22:30
DISC 1
Berlioz, Hector-Classical Composer | Wailly, Leon de-Lyricist | Barbier, Auguste-Lyricist | Vigny, Alfred de-Lyricist | Ford, Bruce-tenor | Claycomb, Laura-soprano | Hawlata, Franz-bass | Groop, Monica-mezzo-soprano | Maltman, Christopher-baritone | Lukas, Ralf-bass | Chum, Johannes-tenor | Mayr, Reinhard-bass | Wagner, Ekkehard-tenor | Vogler, Ekkehard-bass | Hoffmann, Matthias-baritone | Leipzig Radio Chorus-Choir | Stuttgart Radio Symphony Orchestra -Orchestra | Norrington, Roger-Conductor

Overture    10:40

Act I Scene 1: Introduction: Teresa!…Mais ou peut-elle etre? (Balducci)    1:42
Act I Scene 1: Enfin il est sorti (Teresa, Choir and Cellini, Bernardino, Francesco)    1:52
Act I Scene 2: Recitative: Les belles fleurs! (Teresa)    0:54
Act I Scene 2: Cavatine: Entre l’amour et le devoir (Teresa)    7:06
Act I Scene 3: Duet and Trio: Cellini! Teresa! (Teresa, Cellini, Fieramosca)    13:00
Act I Scene 4, 5 and 6: Recitative: Ciel! Nous sommes perdus (Teresa, Cellini, Fieramosca, Balducci)    2:26
Act I Scene 4, 5 and 6: Finale: A nous, voisines et servantes! (Teresa, Fieramosca, Balducci, Chorus)    3:13
Act II Scene 8: Recitative: Une heure encore (Cellini)    1:54
Act II Scene 8: Romance: La gloire etait ma seule idole (Cellini)    3:49
Act II Scene 8: Scene and Chorus: A boire, a boire, a boire!    1:34
Act II Scene 8: Chant des cisseleurs: Si la terre aux beaux jours se couronne (Cellini, Francesco, Bernardino, Cabaretier, Chorus)    8:15
Act II Scene 9, 10: Aria: Cette somme t’est due (Ascanio, Cellini, Francesco, Bernardino, Cabaretier, Chorus)    5:49
Act II Scene 9, 10: Recitative: C’est trop fort! (Fieramosca, Pompeo)    2:24
Act II Scene 9, 10: Aria: Ah! Qui pourrait me resister? (Fieramosca)    3:55

DISC 2
Act II Scene 12: Finale: Vous voyez, j’espere (Balducci, Teresa, Ascanio, Cellini, Fieramosca, Pompeo, Chorus)    8:00
Act II Scene 12: Overture of the Pantomime: Ah! Ah! Bravo! (Chorus)    0:31
Act II Scene 12: Pantomime of King Midas: Voici maitre Arlequin (Chorus, Balducci)    1:05
Act II Scene 12: Ariette d’Arlequin: Regardons bien maitre Arlequin (Chorus)    1:44
Act II Scene 12: Cavatine of Pasquarello: Il palit fort (Balducci, Chorus)    9:21
Act III: Entract and Scene    1:48
Act III Scene 1: A l’atelier (Chorus)    2:02
Act III Scene 2: Il n’a pas reparu! (Teresa, Ascanio)    1:14
Act III Scene 3: Bienheureux les matelots (Ascanio, Cellini, Chorus)    3:18
Act III Scene 4: Aria: Mais qu’ai-je donc? (Ascanio)    5:07
Act III Scene 5: Recitative: Ah! Qu’est-il devenue (Teresa, Ascanio, Chorus)    3:59
Act III Scene 6: Recitative: Teresa! Cellini! (Teresa, Ascanio, Cellini)    3:42
Act III Scene 7: Duet: Quand des sommets de las montagne (Teresa, Cellini)    2:39
Act III Scene 8: Recitative: Ah! Maitre (Teresa, Ascanio, Cellini)    0:22
Act III Scene 9: Quintet: Ah! Je te trouve enfin (Teresa, Ascanio, Cellini, fieramosca, Balducci)    1:42
Act III Scene 10: Sextet: Le pape ici! (Teresa, Ascanio, Cellini, Fieramosca, the Pope, Balducci, Chorus)    11:00
Act III Scene 11: Recitative and Aria: Seul pour lutter (Cellini) – Scene 12: Scene: Son Eminence attend (an officer, the Pope)    8:29
Act III Scene 12: Finale: Du metal! du metal! (Teresa, Ascanio, Cellini, Fieramosca, the Pope, Balducci, Francesco, Bernadino, Chorus)    7:45

Details

  • Composer: Hector Berlioz
  • Title: Benvenuto Cellini
  • Cast:

    Bruce Ford, Laura Claycomb, Franz Hawlata, and Monica Groop, Ralf Lukas, Christopher Maltman

    Ford, Bruce | Claycomb, Laura| Hawlata, Franz | Groop, Monica | Maltman, Christopher | Lukas, Ralf | Chum, Johannes | Mayr, Reinhard | Wagner, Ekkehard | Vogler, Ekkehard  | Hoffmann, Matthias  | Leipzig Radio Chorus  | Stuttgart Radio Symphony Orchestra   | Norrington, Roger

  • Additional information:

    Time
    BERLIOZ: Benvenuto Cellini    2:22:30
    DISC 1
    Benvenuto Cellini, Op. 23 (Weimar version)
    Berlioz, Hector-Classical Composer | Wailly, Leon de-Lyricist | Barbier, Auguste-Lyricist | Vigny, Alfred de-Lyricist | Ford, Bruce-tenor | Claycomb, Laura-soprano | Hawlata, Franz-bass | Groop, Monica-mezzo-soprano | Maltman, Christopher-baritone | Lukas, Ralf-bass | Chum, Johannes-tenor | Mayr, Reinhard-bass | Wagner, Ekkehard-tenor | Vogler, Ekkehard-bass | Hoffmann, Matthias-baritone | Leipzig Radio Chorus-Choir | Stuttgart Radio Symphony Orchestra -Orchestra | Norrington, Roger-Conductor

    Overture    10:40
    Act I Scene 1: Introduction: Teresa!…Mais ou peut-elle etre? (Balducci)    1:42
    Act I Scene 1: Enfin il est sorti (Teresa, Choir and Cellini, Bernardino, Francesco)    1:52
    Act I Scene 2: Recitative: Les belles fleurs! (Teresa)    0:54
    Act I Scene 2: Cavatine: Entre l'amour et le devoir (Teresa)    7:06
    Act I Scene 3: Duet and Trio: Cellini! Teresa! (Teresa, Cellini, Fieramosca)    13:00
    Act I Scene 4, 5 and 6: Recitative: Ciel! Nous sommes perdus (Teresa, Cellini, Fieramosca, Balducci)    2:26
    Act I Scene 4, 5 and 6: Finale: A nous, voisines et servantes! (Teresa, Fieramosca, Balducci, Chorus)    3:13
    Act II Scene 8: Recitative: Une heure encore (Cellini)    1:54
    Act II Scene 8: Romance: La gloire etait ma seule idole (Cellini)    3:49
    Act II Scene 8: Scene and Chorus: A boire, a boire, a boire!    1:34
    Act II Scene 8: Chant des cisseleurs: Si la terre aux beaux jours se couronne (Cellini, Francesco, Bernardino, Cabaretier, Chorus)    8:15
    Act II Scene 9, 10: Aria: Cette somme t'est due (Ascanio, Cellini, Francesco, Bernardino, Cabaretier, Chorus)    5:49
    Act II Scene 9, 10: Recitative: C'est trop fort! (Fieramosca, Pompeo)    2:24
    Act II Scene 9, 10: Aria: Ah! Qui pourrait me resister? (Fieramosca)    3:55
    DISC 2
    Benvenuto Cellini, Op. 23 (Weimar version)
    Berlioz, Hector-Classical Composer | Wailly, Leon de-Lyricist | Barbier, Auguste-Lyricist | Vigny, Alfred de-Lyricist | Ford, Bruce-tenor | Claycomb, Laura-soprano | Hawlata, Franz-bass | Groop, Monica-mezzo-soprano | Maltman, Christopher-baritone | Lukas, Ralf-bass | Chum, Johannes-tenor | Mayr, Reinhard-bass | Wagner, Ekkehard-tenor | Vogler, Ekkehard-bass | Hoffmann, Matthias-baritone | Leipzig Radio Chorus-Choir | Stuttgart Radio Symphony Orchestra -Orchestra | Norrington, Roger-Conductor

    Act II Scene 12: Finale: Vous voyez, j'espere (Balducci, Teresa, Ascanio, Cellini, Fieramosca, Pompeo, Chorus)    8:09
    Act II Scene 12: Overture of the Pantomime: Ah! Ah! Bravo! (Chorus)    0:31
    Act II Scene 12: Pantomime of King Midas: Voici maitre Arlequin (Chorus, Balducci)    1:05
    Act II Scene 12: Ariette d'Arlequin: Regardons bien maitre Arlequin (Chorus)    1:44
    Act II Scene 12: Cavatine of Pasquarello: Il palit fort (Balducci, Chorus)    9:21
    Act III: Entract and Scene    1:48
    Act III Scene 1: A l'atelier (Chorus)    2:02
    Act III Scene 2: Il n'a pas reparu! (Teresa, Ascanio)    1:14
    Act III Scene 3: Bienheureux les matelots (Ascanio, Cellini, Chorus)    3:18
    Act III Scene 4: Aria: Mais qu'ai-je donc? (Ascanio)    5:07
    Act III Scene 5: Recitative: Ah! Qu'est-il devenue (Teresa, Ascanio, Chorus)    3:59
    Act III Scene 6: Recitative: Teresa! Cellini! (Teresa, Ascanio, Cellini)    3:42
    Act III Scene 7: Duet: Quand des sommets de las montagne (Teresa, Cellini)    2:39
    Act III Scene 8: Recitative: Ah! Maitre (Teresa, Ascanio, Cellini)    0:22
    Act III Scene 9: Quintet: Ah! Je te trouve enfin (Teresa, Ascanio, Cellini, fieramosca, Balducci)    1:42
    Act III Scene 10: Sextet: Le pape ici! (Teresa, Ascanio, Cellini, Fieramosca, the Pope, Balducci, Chorus)    11:00
    Act III Scene 11: Recitative and Aria: Seul pour lutter (Cellini) - Scene 12: Scene: Son Eminence attend (an officer, the Pope)    8:29
    Act III Scene 12: Finale: Du metal! du metal! (Teresa, Ascanio, Cellini, Fieramosca, the Pope, Balducci, Francesco, Bernadino, Chorus)    7:45

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