Berlioz: La damnation de Faust / von Stade, Riegel, van Dam, Solti

Track Listings
Disc: 1
1. Part One, Scene I. Intro: Le vieil hiver a fait place au printemps - Kenneth Riegel    
2. Part One, Scene II. Ronde des paysans: Les bergers quittent leurs troupeaux - Chicago SO Chor/Kenneth Riegel    
3. Part One, Scene III. Mais d'un eclat guerrier les campagnes se parent - Kenneth Riegel    
4. Part One, Scene III. Marche Hongroise - Chicago SO Chor/Kenneth Riegel    
5. Part Two, Scene IV. Sans regrets j'ai quitte les riantes campagnes - Kenneth Riegel    
6. Part Two, Scene IV. Chant de la fete de Paques: Christ vient de ressusciter! - Chicago SO Chor/Kenneth Riegel    
7. Part Two, Scene V. O pure emotion! Enfant du saint parvis! - Jose van Dam/Kenneth Riegel/    
8. Part Two, Scene VI. A boire encor! du vin - Chicago SO Chor/Jose van Dam    
9. Part Two, Scene VI. Chor de buveurs: Oh! qu'il fait bon - Chicago SO Chor/Malcolm King    
10. Part Two, Scene VI. Chanson de Brander: Certain rat, dans une cuisine - Chicago SO Chor/Jose van Dam/Malcom King    
See all 18 tracks on this disc
Disc: 2
1. Part Three, Scene IX. Tambours et trompettes sonnant la retraite - Chicago SO/Sir Georg Solti    
2. Part Three, Scene IX. Air de Faust: Merci, doux crepuscule! Oh! sois le bienvenu! - Kenneth Riegel    
3. Part Three, Scene X. Je l'entends - Jose van Dam/Kenneth Riegel    
4. Part Three, Scene XI. Que l'air est etouffant - Frederica von Stade    
5. Part Three, Scene XI. Chanson gothique: Le roi de Thule - Frederica von Stade    
6. Part Three, Scene XII. Evocation: Esprits des flammes inconstantes - Jose van Dam    
7. Part Three, Scene XII. Menuet des follets - Jose van Dam    
8. Part Three, Scene XII. Ser de Mephistopheles et chor de follets: Devant la maison - Jose van Dam    
9. Part Three, Scene XIII. Duo: Grands dieux! - Frederica von Stade/Kenneth Riegel    
10. Part Three, Scene XIV. Trio & Chor: Allons, il est trop tard! - Kenneth Riegel/Jose van Dam/Frederica von Stade/Chicago SO Chor    
See all 17 tracks on this disc

Editorial Reviews
Amazon.com essential recording
Berlioz's works are so typical of him, and yet so unlike each other, that it's almost impossible to select one as representing "the essential Berlioz." Nonetheless, if the choice has to be made, then The Damnation of Faust would probably be the strongest contender. It has everything: fabulous orchestration, great tunes, tremendous special effects (try the scene in Pandemonium), and most of all--so typical--a great literary basis (Goethe), which Berlioz proceeds to alter with total impunity according to the dictates of his musical inspiration. More specifically, in Goethe's story, Faust gets saved in the end. "Never mind," Berlioz seems to ask. "What would you rather have? Faust redeemed or a really cool scene in Pandemonium?" Solti's performance pushes all the right buttons: it's brilliantly played, urgently exciting, very well sung, and recorded with panache. Great fun. --David Hurwitz

Berlioz: La damnation de Faust / von Stade, Riegel, van Dam, Solti, Music, Hector Berlioz, Chicago Symphony Orchestra and Chorus, Frederica von Stade, Kenneth Riegel, Sir Georg Solti, Chicago Symphony Chorus, Glen Ellyn Children's Chorus, José van Dam, Malcolm King, Choral, Classical, Classical Music, Opera / Operetta / Oratorio, Secular Music for More One Soloist, Chorus and Instr
Berlioz: La damnation de Faust / von Stade, Riegel, van Dam, Solti
Average customer rating: 5 out of 5 stars
  • The Greatest Damnation!
  • Possibly my favorite recording of anything...ever!
  • the best there is of this work
 Berlioz: La damnation de Faust / von Stade, Riegel, van Dam, Solti
Hector Berlioz , Chicago Symphony Orchestra and Chorus , Frederica von Stade , Kenneth Riegel , Sir Georg Solti , Chicago Symphony Chorus , Glen Ellyn Children's Chorus , José van Dam , and Malcolm King
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

All Works by BerliozAll Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
Solti, Sir GeorgSolti, Sir Georg | ( S ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Von Stade, FredericaVon Stade, Frederica | Divas | Opera & Vocal | Styles | Music
ASIN: B0000041QY
Release Date: 1987-01-19

Tracks:

  1. Part One, Scene I. Intro: Le vieil hiver a fait place au printemps - Kenneth Riegel
  2. Part One, Scene II. Ronde des paysans: Les bergers quittent leurs troupeaux - Chicago SO Chor/Kenneth Riegel
  3. Part One, Scene III. Mais d'un eclat guerrier les campagnes se parent - Kenneth Riegel
  4. Part One, Scene III. Marche Hongroise - Chicago SO Chor/Kenneth Riegel
  5. Part Two, Scene IV. Sans regrets j'ai quitte les riantes campagnes - Kenneth Riegel
  6. Part Two, Scene IV. Chant de la fete de Paques: Christ vient de ressusciter! - Chicago SO Chor/Kenneth Riegel
  7. Part Two, Scene V. O pure emotion! Enfant du saint parvis! - Jose van Dam/Kenneth Riegel/
  8. Part Two, Scene VI. A boire encor! du vin - Chicago SO Chor/Jose van Dam
  9. Part Two, Scene VI. Chor de buveurs: Oh! qu'il fait bon - Chicago SO Chor/Malcolm King
  10. Part Two, Scene VI. Chanson de Brander: Certain rat, dans une cuisine - Chicago SO Chor/Jose van Dam/Malcom King
  11. Part Two, Scene VI. Fugue sur le theme de la chanson de Brander: Amen, etc. - Chicago SO Chor/Jose van Dam/Malcolm King
  12. Part Two, Scene VI. Chanson de Mephistopheles: Une puce gentille - Chicago SO Chor/Jose van Dam/Kenneth Riegel
  13. Part Two, Scene VII. Air de Mephistopheles: Voici des roses - Jose van Dam
  14. Part Two, Scene VII. Chor de gnomes et de sylphes: Dors! Dors! heureux Faust - Chicago SO Chor/Jose van Dam/Kenneth Riegel/Jose van Dam
  15. Part Two, Scene VII. Ballet des sylphes - Chicago SO Chor/Jose van Dam/Kenneth Riegel/Jose van Dam
  16. Part Two, Scene VIII. Chor de soldats: Villes entourees de murs et remparts - Chicago SO Chor/Margaret Hillis
  17. Part Two, Scene VIII. Chanson d'etudiants: Jam nox stellata (bis) velamina pandit - Glen Ellyn Children's Chor/Doreen Rao
  18. Part Two, Scene VIII. Chor des soldats et chanson des etudiants - Chicago SO Chor/Glen Ellyn Children's Chor/Kenneth Riegel/Jose van Dam

Tracks:

  1. Part Three, Scene IX. Tambours et trompettes sonnant la retraite - Chicago SO/Sir Georg Solti
  2. Part Three, Scene IX. Air de Faust: Merci, doux crepuscule! Oh! sois le bienvenu! - Kenneth Riegel
  3. Part Three, Scene X. Je l'entends - Jose van Dam/Kenneth Riegel
  4. Part Three, Scene XI. Que l'air est etouffant - Frederica von Stade
  5. Part Three, Scene XI. Chanson gothique: Le roi de Thule - Frederica von Stade
  6. Part Three, Scene XII. Evocation: Esprits des flammes inconstantes - Jose van Dam
  7. Part Three, Scene XII. Menuet des follets - Jose van Dam
  8. Part Three, Scene XII. Ser de Mephistopheles et chor de follets: Devant la maison - Jose van Dam
  9. Part Three, Scene XIII. Duo: Grands dieux! - Frederica von Stade/Kenneth Riegel
  10. Part Three, Scene XIV. Trio & Chor: Allons, il est trop tard! - Kenneth Riegel/Jose van Dam/Frederica von Stade/Chicago SO Chor
  11. Part Four, Scene XV. Romance de Marguerite: D'amour l'ardente flamme - Frederica von Stade/Jose van Dam/Chicago SO Chor
  12. Part Four, Scene XVI. Invocation a la nature: Nature immense, impenetrable et fiere - Kenneth Riegel
  13. Part Four, Scene XVII. Recitative & chasse: A la voute azuree - Jose van Dam/Kenneth Riegel
  14. Part Four, Scene XVIII. La course a l'abime: Dans mon coeur retentit sa voix - Chicago SO Chor/Margaret Hills
  15. Part Four, Scene XIX. Pandaemonium: Ha! Irimiru Karabrao! - Chicago SO Chor/Jose van Dam/Kenneth Riegel
  16. Part Four, Scene XIX. Epilogue sur la terre: Alors, l'enfer se tut - Chicago SO Chor/Margaret Hills
  17. Part Four, Scene XX. Dans le ciel: Laus! Laus! Hosanna! Hosanna! - Chicago SO Chor/Glen Ellyn Children's Chor

Amazon.com essential recording

Berlioz's works are so typical of him, and yet so unlike each other, that it's almost impossible to select one as representing "the essential Berlioz." Nonetheless, if the choice has to be made, then The Damnation of Faust would probably be the strongest contender. It has everything: fabulous orchestration, great tunes, tremendous special effects (try the scene in Pandemonium), and most of all--so typical--a great literary basis (Goethe), which Berlioz proceeds to alter with total impunity according to the dictates of his musical inspiration. More specifically, in Goethe's story, Faust gets saved in the end. "Never mind," Berlioz seems to ask. "What would you rather have? Faust redeemed or a really cool scene in Pandemonium?" Solti's performance pushes all the right buttons: it's brilliantly played, urgently exciting, very well sung, and recorded with panache. Great fun. --David Hurwitz

Customer Reviews:

5 out of 5 stars The Greatest Damnation!.......2007-05-09

For me this is the most dramatic, best recorded and most thrilling recording of 'Le Damnation de Faust'. To hell with the opposition! Listen at high volume and be prepared for huge excitement - you'll never be the same again!

5 out of 5 stars Possibly my favorite recording of anything...ever!.......2004-11-30

Funny how people still equivocate about Berlioz. "Problematic" is a word that regretably (annoyingly) still turns up too frequently in commentaries on his work. Berlioz's music is complex and demanding--difficult to play. His forms are unique, imaginative, and challenging (and by the by, Berlioz wrote these hybrid works--not quite operas or oratorios--simply because he wanted to write operas but was repulsed by the exclusionary politics of the opera world at the time. Think of Berlioz as being as creatively devious in this regard as, say, Shostakovich was in a later idiotic society, or as being prescient--these odd forms work well on the home stereo).

Anywho, history teaches us that often we, the performers, conductors, and listeners, are at fault and not the "problematic" composer. A brilliant composer often needs great performances otherwise nothing seems to hold together properly and we--even those of us smart enough to know better--blame the half-arsed results on compositional incompetence or just bad judgement. Look how badly even Nielsen's astonishing symphonies fair with anything less than white hot interpretations. So, Beethoven was "mad" at the end of his life, Schumann didn't know how to orchestrate, Gluck was a poor composer, Berlioz was inconsistent and downright amateurish, and so on. Strangely, all the major works of these composers are still in the repertoire despite the alleged flaws. Somebody out there must love them without hesitations.

Anyway, this is exactly the performance of "Damnation of Faust" that the ghost of Berlioz deserves. I'm aware of his perfectionism and attention to detail in his own conducting and I'd imagine this would constitute an ideal performance for him. Solti, his orchestra, his chorus, and his soloists treat this as the unqualified masterpiece that it certainly is.

And while I'm at it, to hell with the text! Berlioz gets a lot of flak for not adhering to the original "story" in many of his works. Well, Branagh gave us the whole Hamlet straight up and just as many people seemed to whine about that too. You can't please everybody. Fact is, any adaptation, film, operatic, or otherwise is an attempt to jam 200 pounds of culturally significant excrement into a 10 pound bejeweled bag. Editing is unavoidable and often that editing means changing essentials to suit a new purpose or a different kind of audience. If one wants it exactly the way it was written then go read the book. This is not "Hector Berlioz presents Goethe's Faust" and it was never meant to be. That sort of thing's an affectation for a later and more ridiculous age.

5 out of 5 stars the best there is of this work.......1999-09-28

Of all the recordings of this problematic opera(?), cantata (?), this is still the best. I think a lot of it is due to the intelligent Mephisto of Van Dam and the dramatic reading of Solti. My touchstone is always the mixed chorus of students and soliders that comes in the middle of the work; and here it is almost perfect. I would still prefer an all-French cast--but those days are long since gone. Yes, there is a slight falling off of tension towards the end, but otherwise there is nothing but good to be said about this version.

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