Bonynge: Gounod - Faust (3 CD, FLAC)
Bonynge: Gounod - Faust (3 CD, FLAC)

Audio CD
SPARS Code: A-D
Number of Discs: 3
Format: FLAC (image+cue)
Label: Decca
Size: 855 MB
Recovery: +3%
Scan: yes

Faust, opera
Composed by Charles Gounod
Performed by London Symphony Orchestra
with Robert Massard, Margreta Elkins, Raymond Myers, Nicolai Ghiaurov, Joan Sutherland, Monica Sinclair, Franco Corelli
Conducted by Richard Bonynge

Disc 1:
01. Faust – Version 1860/1869 / Act 1 – No.1 Introduction
02. Faust – Version 1860/1869 / Act 1 – No.2 “Rien!… En vain j’interroge”
03. Faust – Version 1860/1869 / Act 1 – Mais ce Dieu, que peut-il…Me voici! – Eh bien!
04. Faust – Version 1860/1869 / Act 2 – No.5 “Vin ou bière”
05. Faust – Version 1860/1869 / Act 2 – No.6 “O sainte médaille”
06. Faust – Version 1860/1869 / Act 2 – No.6b Invocation: “Avant de quitter ces lieux” – “Al- lons, amis”
07. Faust – Version 1860/1869 / Act 2 – No.7 Ronde du veau d’or: “Le veau d’or”
08. Faust – Version 1860/1869 / Act 2 – No.8 “Merci de ta chanson”
09. Faust – Version 1860/1869 / Act 2 – Attendons! Ici même…Ainsi que la brise légère
10. Faust – Version 1860/1869 / Act 3 – No.10 Entr’acte – “Faites-lui les aveux”
11. Faust – Version 1860/1869 / Act 3 – No.11 “C’est ici?”
12. Faust – Version 1860/1869 / Act 3 – Quel trouble inconnu…Salut! Demeure chaste et pure
13. Faust – Version 1860/1869 / Act 3 – Je voudrais bien savoir…Il était un roi de Thulé
14. Faust – Version 1860/1869 / Act 3 – No.14b Air des bijoux: “Ah! Je ris de me voir”

Also available:  Tchaikovsky Edition (60 CD)

Disc 2:
01. Faust – Version 1860/1869 / Act 3 – No.15 “Seigneur Dieu, que vois-je!”
02. Faust – Version 1860/1869 / Act 3 – No.18 “Il se fait tard”
03. Faust – Version 1860/1869 / Act 3 – O nuit d’amour!…Divine pureté
04. Faust – Version 1860/1869 / Act 4 – No.19 “Elles ne sont plus là”
05. Faust – Version 1860/1869 / Act 4 – Elles se cachaient…Il ne revient pas!
06. Faust – Version 1860/1869 / Act 4 – No.20 “Marguerite! Siebel!’
07. Faust – Version 1860/1869 / Act 4 – Marthe! – Dieu soit loué! C’est vous!…Déposons nos
08. Faust – Version 1860/1869 / Act 4 – Qu’attendez-vous encore?…Vous qui faites l’endormie
09. Faust – Version 1860/1869 / Act 4 – No.25 “Que voulez-vous, messieurs?”
10. Faust – Version 1860/1869 / Act 4 – No.26 “Par ici, mes amis!”
11. Faust – Version 1860/1869 / Act 4 – Seigneur, daignez permettre

Disc 3:
01. Faust – Version 1860/1869 / Act 5 – No.27 La nuit de Walpurgis: “Dans les bruyères”
02. Faust – Version 1860/1869 / Act 5 – No.28 “Jusqu’aux premières feux”
03. Faust – Version 1860/1869 / Act 5 – Ballet…Que ton ivresse, o volupté! étouffe les
04. Faust – Version 1860/1869 / Act 5 – No.30 “Va t’en”
05. Faust – Version 1860/1869 / Act 5 – Ah! c’est la voix – Oui, c’est toi
06. Faust – Version 1860/1869 / Act 5 – Attends! voici la rue
07. Faust – Version 1860/1869 / Act 5 – Alerte alerte! …Anges purs…Sauvée!

Hey, it’s a thrilling recording… and what voices!!!

This was the first recording I heard of this wonderful opera, but even listening to most of the other usually recommended recordings, including the classic one with Victoria de los Angeles and Nicola? Gedda (EMI), I couldn’t find some important aspects that I can find in this incredible recording made in 1966.
First of all, the orchestra is excellent and Richard Bonynge manages to conduct it with softness and power simutaneously. The result is that we can notice some wonderful details that simply don’t exist in other versions. Besides, (if well conducted) Faust is a show of wonderful melodies and ecstasy moments!
Although some people may imagine the cast is not “French” enough, you can’t realize what these voices can do!
Franco Corelli has a sweet but large voice and his voice blends very well with Sutherland’s voice in the romantic duets. He was also a successful singer in many French roles (Romeo in Rom?o et Juliette, Don Jos? in Carmen, Raoul in Les Huguenots, etc.), so he was completely aware of the French style of singing. He’s
Dame Joan Sutherland was in her ultimate prime, with a huge and heavenly voice that had such a “tearful tone” that could be perfectly applied to romantic-tragic roles like Marguerite. In her first coloratura aria (Ah! je ris de me voir), her voice is youthful and agile, while later in the opera it tends to be darker and heavier, indicating Marguerite’s torment. Her characterization is really moving. I like Joan Sutherland’s interpretations a lot not only because of her voice, but because she had a rare talent: she could express happiness, sadness and pain while singing perfectly and with the most beautiful tones. She doesn’t need to breathe, to cry or to do any other “theathrical elements” to make her characterizations sound interesting to our ears.
I suppose I don’t need to talk many things about Nicolai Ghiaurov’s Mephistoph?les. He was one of the best basses of the 20th century (unfortunately this great singer and man passed away this week) and probably the best bass of the last fifty years, and Mephistoph?les was one of his greates roles. His voice is enormous and dark and his interpretation of the role is the most viril and sarcastic I have ever heard.
And when these three legendary voices joins, it’s spectacular! The final trio is dazzling, one of the greatest moments of the recorded history of Opera!
Since I cannot talk about every great singer in this recording (there are so many!), I would like to mention the elegant Valentin of Robert Massard, the sweet Siebel of Margreta Elkins and the interesting Martha of Monica Sinclair. With such a great cast, nothing can go wrong in this opera!
If you want to know this great masterpiece composed by Gounod, or if you are just adding one more recording to your collection, please buy this recording! You CAN’T be disappointed!

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