Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan [Box set]

Editorial Reviews
Amazon.com essential recording
The payoff to Herbert von Karajan's relentless pursuit of ensemble perfection and beauty of sound can be heard in the playing of the Berlin Philharmonic on this recording: by 1978, when it was made, they were indisputably the most polished and flexible orchestra in Europe, and one of the few orchestras anywhere (including France) that was capable of playing French music with real authority. Fittingly, the orchestra is very much at the center of this account of Claude Debussy's uniquely beautiful opera, magnificently projecting the mysterious, darkly translucent world of its fatally entangled characters. The cast, which is led by two Americans--Richard Stilwell as Pelléas and the incomparable Frederica von Stade as Mélisande --and features a Belgian (José van Dam) as Golaud and an Italian (Ruggero Raimondi) as Arkel, is a superb one, not least because those principals who are not French are nonetheless Francophones, and sing with excellent diction and an authentic delivery. Karajan's pacing of the drama, his skill at eliciting just the right intensity from the orchestra, his surpassing gentleness with the singers (balances are superb and every word comes through clearly), and the overall beauty of the orchestral playing make this not only the finest account of Pelléas et Mélisande yet recorded, but one of the most treasurable opera recordings ever, fully worthy of EMI's Great Recordings of the Century designation. --Ted Libbey

Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan, Music, Claude Debussy, Berliner Philharmoniker, Herbert von Karajan, Frederica von Stade, Richard Stilwell, José van Dam, Ruggero Raimondi, Nadine Denize, Christine Barbaux, Classical, Classical Music, French 20th/21st Century Opera, Opera, Opera/Operetta, Orchestral & Symphonic
Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan
Average customer rating: 4 out of 5 stars
  • Sound not worthy of EMI Great Recording Series
  • Still for me the definitive overall view of Pelléas!!!
  • One of Karajan's undisputed triumphs
  • Karajan Attempts Debussy
  • debussy isn't wagner
 Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan
Claude Debussy , Berliner Philharmoniker , Herbert von Karajan , Frederica von Stade , Richard Stilwell , José van Dam , Ruggero Raimondi , Nadine Denize , and Christine Barbaux
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Berlin Philharmonic OrchestraBerlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
All Works by DebussyAll Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
FrenchFrench | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Opera & VocalOpera & Vocal | Box Sets | Stores | Music
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ASIN: B00000K4FN
Release Date: 1999-09-21

Tracks:

  1. Prelude - Berliner Philharmoniker
  2. Je Ne Pourrai Plus Sortir De Cette Foret - Jose Van Dam
  3. Qu'est-ce Qui Brille Ainsi, Au Fond De L'eau? - Jose Van Dam
  4. Interlude - Berliner Philharmoniker
  5. Voici Ce Qu'il Ecrit A Son Frere Pelleas: 'Un Soir, Je L'ai Trouvee' - Nadine Denize
  6. Je N'en Dis Rien - Ruggero Raimondi
  7. Grand-pere, J'ai Recu En Meme Temps Que La Lettre De Mon Frere - Ruggero Raimondi
  8. Interlude - Berliner Philharmoniker
  9. Il Fait Sombre Dans Les Jardins - Frederica Von Stade
  10. Hoe! Hisse Hoe! Hoe! Hoe! - Chor Der Deutschen Oper Berlin
  11. Vous Ne Savez Pas Ou Je Vous Ai Menee - Frederica Von Stade
  12. C'est Au Bord D'une Fontaine Aussi Qu'il Vous A Trouvee? - Frederica Von Stade
  13. Interlude - Berliner Philharmoniker
  14. Ah! Ah! Tout Va Bien, Cela Ne Sera Rien - Jose Van Dam
  15. Je Suis . . . Je Suis Malade Ici - Jose Van Dam
  16. Il Est Vrai Que Ce Chateau Est Tres Vieux Et Tres Sombre - Jose Van Dam
  17. Tiens, Ou Est L'anneau Que Je T'avis Donne? - Jose Van Dam
  18. Interlude - Berliner Philharmoniker
  19. Oui, C'est Ici, Nous Y Sommes - Frederica Von Stade

Tracks:

  1. Mes Longs Cheveux Descendent - Frederica Von Stade
  2. Oh! Oh! Mes Cheveux Descendent De La Tour! - Frederica Von Stade
  3. Je Les Noure, Je Les Noue Aux Branches Du Saule - Jose Van Dam
  4. Interlude - Berliner Philharmoniker
  5. Prenez Garde; Par Ici, Par Ici - Jose Van Dam
  6. Interlude - Berliner Philharmoniker
  7. Ah! Je Respire Enfin! - Jose Van Dam
  8. A Propos De Melisande - Jose Van Dam
  9. Interlude - Berliner Philharmoniker
  10. Viens, Nous Allons Nous Asseoir Ici, Yniold - Jose Van Dam
  11. Ah! Ah! Petite Mere A Allume Sa Lampe - Jose Van Dam

Tracks:

  1. Ou Vas-tu? Il Faut Que Je Te Parle Ce Soir - Frederica Von Stade
  2. Maintenant Que Le Pere De Pelleas Est Sauve - Ruggero Raimondi
  3. Pelleas Part Ce Soir - Ruggero Raimondi
  4. Une Grande Innocence - Ruggero Raimondi
  5. Interlude - Berliner Philharmoniker
  6. Oh! Cette Pierre Est Lourde - Christine Barbaux
  7. C'est Le Dernier Soir - Frederica Von Stade
  8. On Dirait Que Ta Voix A Passe Sur La Mer Au Printemps! - Frederica Von Stade
  9. Quel Est Ce Bruit? On Ferme Les Portes - Frederica Von Stade
  10. Ce N'est Pas De Cette Petite Blessure Qu'elle Peut Mourir - Ruggero Raimondi
  11. Attention; Je Crois Qu'ell S'eveille - Ruggero Raimondi
  12. Etes-vous Seul Dans La Chambre, Grand-pere? - Ruggero Raimondi
  13. Melisande, As-tu Pitie De Moi Comme J'ai Pitie De Toi? - Jose Van Dam
  14. As-tu Aime Pelleas? - Jose Van Dam
  15. Qu'avez-vous fait? Vous Allez La Tuer - Ruggero Raimondi
  16. Qu'y-a-t-il? Qu'est-ce Que Toutes Ces Femmes Viennent Faire Ici? - Ruggero Raimondi
  17. Attention . . . Attention - Ruggero Raimondi

Amazon.com essential recording

The payoff to Herbert von Karajan's relentless pursuit of ensemble perfection and beauty of sound can be heard in the playing of the Berlin Philharmonic on this recording: by 1978, when it was made, they were indisputably the most polished and flexible orchestra in Europe, and one of the few orchestras anywhere (including France) that was capable of playing French music with real authority. Fittingly, the orchestra is very much at the center of this account of Claude Debussy's uniquely beautiful opera, magnificently projecting the mysterious, darkly translucent world of its fatally entangled characters. The cast, which is led by two Americans--Richard Stilwell as Pelléas and the incomparable Frederica von Stade as Mélisande --and features a Belgian (José van Dam) as Golaud and an Italian (Ruggero Raimondi) as Arkel, is a superb one, not least because those principals who are not French are nonetheless Francophones, and sing with excellent diction and an authentic delivery. Karajan's pacing of the drama, his skill at eliciting just the right intensity from the orchestra, his surpassing gentleness with the singers (balances are superb and every word comes through clearly), and the overall beauty of the orchestral playing make this not only the finest account of Pelléas et Mélisande yet recorded, but one of the most treasurable opera recordings ever, fully worthy of EMI's Great Recordings of the Century designation. --Ted Libbey

Customer Reviews:

3 out of 5 stars Sound not worthy of EMI Great Recording Series.......2007-01-05

Perhaps the Karajan Pelleas was remastered too early in the EMI Great Recordings series. Unlike most of the other releases in this series, the sound quality is not an improvement upon the earlier CD version. If you have the 1980's release of this opera, there is no need to buy this one. The ART remastering has cleaned up the sound a little, but it represents a step backwards in overall sound quality. The natural echo of music made in a real space is diminished and the recording sounds a few steps removed from real music making.

In the late 1990's EMI issued several ART remasterings with mixed results. Some recordings like the Callas Tosca were a complete disaster with almost all sense of the acoustic space removed (yes, even mono recordings do have a sense of natural echo and depth). However, when the Tosca -- and other recordings such as the Schwarzkopf Rosenkavalier -- were reissued as part of the Great Recordings series, the sound was transformed into a CD with both the voices and the acoustics sounding fuller and more natural.

While by no means a disaster, the sound quality of the Karajan Pelleas seems closer to the failed early ART efforts than to their more recent successes.

5 out of 5 stars Still for me the definitive overall view of Pelléas!!!.......2006-08-07

[Having found that I've not reviewed as yet a truly great recording of one of my two favourite operas (Shostakóvich's "Lady Macbeth Mcjénskovo Ujézda" being the other) even though having commented upon it in my writing-up of the Ansermet Decca/London recording, I'd better make amends at once!!!]

A few other reviewers have said better than what I otherwise might regarding the voices' properties, so let me here be short. Although I find Frederica von Stade somewhat too coquettish for Mélisande (somehow, it seems as if an American girl's forthrightness and assertiveness intrudes here too much for this character's otherworldly, timid, frighened good!) and José van Dam - although excellent indeed - still just a shadow less menacing and authoritative than George London (for Ansermet), the overall performance of everybody gels to overall perfection. [With such a performance in fact, it's too easy then to end up a nit-picker - e.g., the tubist (tuba-player) has a few false entries near the beginning of Act II Scene 3.] I particularly here like the way the other people play Geneviève, Yniold, Pelléas (though still a real tenor would be best!) and especially Arkël (Ruggero Raimondi here is a true stand-out!!!).

The true star of this recording (barring a few nits like the one mentioned above) is the Berlin Philharmonic: both in its overall ensemble AND in terms of its individual sections and soloists (notably the woodwinds - I could wish for the brass to be somewhat still more assertive in a few places although overall the whole orchestra opens up more than some people might feel comfortable with!), one sees how truly without peer it happens to be - and in French music to boot!!!! [When can we hope to see a French ensemble prove itself worthy of comparison even on their home terrain (perhaps the Paris Bastille - the way they played Shostakóvich's "Lady Macbeth" gives one a glimmer thereof...)?]

As to those who feel that Debussy was out to be anti-Wagner (thus requiring a non-Wagnerian viewpoint), I'll simply say that it was a question of cattiness (Debussy was simply not the best of men by a longshot!) and jealousy. [French composers were so intimidated by Wagner and "Wagnerism" accusations that they were desperately out to assert themselves at any cost in any way possible - not realising that his harmonic language (among other points) was there to stay and be most influential (e.g., César Franck's music - particularly that for organ - is heavily influenced that way even if it otherwise remains sparser in sound than what the Teutons produced).] Karajan is entirely right to see "Pelléas" NOT as an antithesis or antidote to Wagner but as the (to-date) culmination of what Wagner was aiming for (subject of course to the ideal of a French instead of a German overall æsthetic - and nobody was more Gallic than Debussy; the combination of Musórgskian vocal-lines + Wagner's integrated-opera construction doesn't take away from the music's Gallic character one bit {it's every bit as quintessentially French as Ravel's "Daphnis et Chloé"}!).

[A case in point is the way Debussy's leitmotifs are much more dynamic in usage and flexibility (even at times to the point of unrecognizability!) compared to those of Wagner (or even Richard Strauss), which remain static in terms of instrumental colour, rhythm, and often key! It's in this way that Debussy goes beyond Wagner while yet bringing the German's overall aims to perfection!]

I don't hesitate in recommending this set most highly in all regards (superb sound in recording terms too!) - though I'll also recommend Ansermet's Decca/London stereo recording (one of the cheapest around but most worth it nonetheless!!!) to give an alternative viewpoint of the work. [Those who can tolerate mono sound may well wish to investigate Ingelbrecht, Fournet, etc....]

5 out of 5 stars One of Karajan's undisputed triumphs.......2006-07-14

It's a pleasure to meet one of the true Great Recordings of the Century. It's also fortunate that the Amazon reviewer so carefuly describes the virtues of this exquisite, in some ways unsurpassed reading of Pelleas et Melisande. Karajan had already displayed his gifts as a Debussy conductor before 1978, but this opera is much harder to bring off than, say, the La Mer or Prelude to the Afternoon of a Faun. Inspired by Wagner, Debussy created a unique Pelleas world that is as distinctive as the Tristan world, though perhaps its total opposite.

Karajan manages to draw us into this singular world with total involvement. The Berlin Phil. plays with more richness and sonority than any of the French orchestras to be heard in Pelleas--let's be frank, there was never a Parisian orchestra, then or now, that could hold a candle to the Berliners. The principal singers--Stilwell, von Stade, and Van Dam--have enough dramatic weight to stand up to Karajan's all-encompassing orchestral sound, which says a lot. One could argue that Van Dam and von Stade are the greatest modern exponents of Golaud and Melisande--the young von Stade's voice is blessedly free of the fast beat that came to mar it later on. This is not to take away from Stilwell's ardent Pelleas; I particularly like the fact that his baritone inclines toward the tenor range.

In sum, if you are a lover of this enigmatic and elusive opera, Karajan's EMI set, always a good-sounding recording but now even better in its latest remastering, is a must-listen.

1 out of 5 stars Karajan Attempts Debussy.......2006-01-14

Read A Music Fan's review above.
I'm very syrprised EMI would even consider allowing Kraajan to record ANY Debussy, even more so the very difficult score of Pelleas.
Of course all the glowing reviewers have not heard Desormiere's 1942 nor Ingelbrecht's masterpiece recordings.
Of course not.
Yet they rate Karajan a hit.
One star for attempt.


1 out of 5 stars debussy isn't wagner.......2004-07-20

in fact, debussy was trying to create an anti-wagner opera when he wrote pelleas, music and words that only suggest what is really happening, but never explicitly spells it out, as wagner does with his music, or other composers do with their words and sounds. karajan ignores this and tries to make pelleas et melisande into tristan und isolde. it doesn't work. try the recording with dutoit and the montreal orchestra (and an all-french cast) to see what this opera is supposed to sound like.
Debussy: Pelléas Et Mélisande
Average customer rating: Not rated
    		Debussy: Pelléas Et Mélisande

    Manufacturer: Angel Records
    ProductGroup: Music
    Binding: Audio CD

    General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    Berlin Philharmonic OrchestraBerlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
    All Works by DebussyAll Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    FrenchFrench | Languages | Opera & Vocal | Styles | Music
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    ASIN: B000002RQ4
    Release Date: 1990-10-25

    Tracks:

    1. Act One,Scene One: 'Je Ne Pourrai Plus Sortir De Cette Foret' - Jose Van Dam/Frederica Von Stade
    2. Act One,Scene One: 'Qu' Est-Ce Qui Brille Ainsi, Au Fond De L'eau?' - Jose Van Dam/Frederica Von Stade
    3. Act One, Scene Two: 'Voici Ce Qu'il Ecrit A Son Frere Pelleas: 'Un Soir, Je L'ai Trouvee...' - Nadine Denize
    4. Act One, Scene Two: 'Je N'en Dis Rien' - Ruggero Raimondi/Nadine Denize
    5. Act One, Scene Two: 'Grand-Pere, J'ai Recu En Meme Temps Que La Lettre De Mon Frere...' - Richard Stilwell/Ruggero Raimondi/Nadine Denize
    6. Act One, Scene Three: 'Il Fait Sombre Dans Les Jardins' - Frederica Von Stade/Nadine Denize/Richard Stilwell
    7. Act One, Scene Three: 'Hoe! Hisse Hoe! Hoe!' - Chor Der Deutschen Oper Berlin/Wagner Hagen-Groll/Frederica Von Stade/Richard Stilwell/Nadine Denize
    8. Act Two, Scene Two: 'Vous Ne Savez Pas Ou Je Vous Ai Menee?' - Richard Stilwell/Frederica Von Stade
    9. Act Two, Scene Two: 'C'est Au Bord D'une Fontaine Auussi Qu'il Vous A Trouvee?' - Richard Stilwell/Frederica Von Stade
    10. Act Two, Scene Two: 'Ah! Ah! Tout Va Bien, Ce La Ne Sera Rien' - Jose Van Dam/Frederica Von Stade
    11. Act Two, Scene Two: 'Jesuis... Je Suis Malade Ici' - Frederica Von Stade/Jose Van Dam
    12. Act Two, Scene Two: 'Tiens, Ou Est L'anneau Que Je T'avais Donne?' - Jose Van Dam/Frederica Von Stade
    13. Act Two, Scene Three: 'Oui, C'est Ici, Nous Y Sommes' - Richard Stilwell/Frederica Von Stade

    Tracks:

    1. Act Three, Scene One: 'Mes Longs Cheveux Descendent' - Fredericka Von Stade/Richard Stilwell
    2. Act Three, Scene One: 'Oh! Oh! Mes Cheveux Descendent De La Tour!' - Fredericka Von Stade/Richard Stilwell
    3. Act Three, Scene One: 'Je Les Noue, Je Les Noue Aux Branches Du Saule' - Richard Stilwell/Frederica Von Stade/Jose Van Dam
    4. Act Three, Scene Two: 'Prenez Garde; Par Ici, Par Ici' - Jose Van Dam/Richard Stilwell
    5. Act Three, Scene Three: Ah! Je Respire Enfin!' - Richard Stilwell/Jose Van Dam
    6. Act Three, Scene Four: 'Viens, Nous Allons Nous Asseoir Ici, Yniold' - Jose Van Dam/Christine Barbaux
    7. Act Three, Scene Four: 'Ah! Ah! Petitie Mere A Allume Sa Lampe' - Christine Barbaux/Jose Van Dam

    Tracks:

    1. Act Four, Scene One: 'Ou Vas-Tu? Il Faut Que je Te Parle Ce Soir' - Richard Stilwell/Frederica Von Stade
    2. Act Four, Scene One: 'Maintenant Que Le Pere De Pelleas Est Sauve...' - Ruggero Raimondi/Frederica Von Stade
    3. Act Four, Scene One: 'Pelleas Part Ce Soir' - Jose Van Dam/Ruggero Raimondi/Frederica Von Stade
    4. Act Four, Scene One: 'Apporte-La' - Jose Van Dam/Ruggero Raimondi/Frederica Von Stade
    5. Act Four, Scene Two: 'Oh! Cette Pierre Est Lourde...' - Christine Barbaux/Pascal Thomas
    6. Act Four, Scene Two: 'C'est Le Demier Soir...' - Richard Stilwell/Frederica Von Stade
    7. Act Four, Scene Two: 'On Dirait Que Ta Voix A Passe Sur La Mer Au Printemps!' - Richard Stilwell/Frederica Von Stade
    8. Act Four, Scene Two: 'Quel Est Ce Bruit? On Ferme Les Portes' - Richard Stilwell/Frederica Von Stade
    9. Act Five: 'Ce N'est Pas De Cette Petite Blessure Qu'elle Peut Mourir...' - Pascal Thomas/Ruggero Raimondi/Jose Van Dam
    10. Act Five: 'Ouvrez La Fenetre, Ourvrez La Fenetre...' - Frederica Von Stade/Ruggero Raimondi/Pascal Thomas
    11. Act Five: 'Melisande... Melisande...' 'Est-ce Vous, Golaud?' - Jose Van Dam/Frederica Von Stade
    12. Act Five: 'Non, Non, Nous N'avons Pas Ete Coupables' - Frederica Von Stade/Jose Van Dam
    13. Act Five: 'Qu'avez-Vous Fait? Vous Allez La Tuer' - Ruggero Raimondi/Jose Van Dam/Frederica Von Stade
    14. Act Five: 'Qu'y-a-t-il? Qu' est-ce Que Toutes Ces Femmes Viennent Faire Ici?' - Jose Van Dam/Pascal Thomas/Ruggero Raimondi
    15. Act Five: 'Attention...Attention' - Ruggero Raimondi/Pascal Thomas

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