Louis-Hector BERLIOZ (1803-1869)
L’Enfance du Christ, oratorio (1850-1854) – Le Songe d’Hérode – La Fruite en Égypte – L’arrivée à Saïs –Epilogue
Yann Beuron (tenor) – Narrator & Centurion; Karen Cargill (soprano) – Marie; Matthew Rose (bass) – Herod; Peter Rose (bass) – Father, Polydorus
Tenebrae/Nigel Short, London Symphony Orchestra & Chorus/Colin Davis
rec. December 2006, Barbican Centre, London
ALTO ALC1608 [41:04 + 55:28]
There are seven performances recorded for this work and some are reviewed elsewhere (Munch ~ Inbal ~ Dutoit), including the original issue of this performance on LSO Live (review). This is an unusual work, in that it comprises three separate parts not originally conceived as a single entity, hence the four years in composition between 1850 and 1854. Berlioz wrote his own libretto for it. The Parisians who were first to hear his works were generally not impressed by his avant-garde approach to music, but here they liked its more tuneful, classical, nature.
Listeners new to this oratorio will find Part I atmospherically sombre, dark and fearful with apprehension. It portrays King Herod giving orders to kill all new-born children, since one is believed to be destined to become king and rob him of his throne. The music is inventive to amplify and maximize the meaning of the lyrics.
Part II concerns the Holy Family’s flight to Egypt to avoid Herod’s Slaughter of the Innocents. The overture is dreamy and playfully meanders with an elegant flute passage. Its music is contrastingly melodious, bright and uplifting. The Shepherds’ Farewell (L’Adieu des bergers) has become a favourite in carol concerts and is superbly sung here by the Tenebrae Choir, with a nice forte rise towards the end. Le Repos de la Sainte Famille is particularly charming and well sung by Beuron with lyrical phrasing. It was the success of this section, given its premiere in Leipzig in December 1853, which encouraged Berlioz to expand the work by adding a first and third part.
Part III features dramatic tension punctuated by sections of tranquil serenity as the Holy Family arrive in the Egyptian town of Saïs, where they are given shelter by an Ishmaelite family. It is in this section that Berlioz is the most inspired in his composition including an exquisite trio for flutes and harp showing him at his best. Equally inviting is the fascinating and colourful score of Entrez, pauves Hébreux.
The singers are well suited to this repertoire. Yann Beuron is a fine tenor of wide compass and a light vibrato which suit oratorio work. Karen Cargill is a delightfully tender in O mon cher fils, and her powerful delivery of Dans cette ville immense gives energy to lift the scene. Berlioz wrote particularly low, sustained notes for the bass and the velvety-voiced Matthew Rose sings them and his difficult lines with ease. The Tenebrae choir provides excellent support.
The oratorio’s duration of 96 minutes is too long for one CD and yet too short for two, but Alto offers this double disc set for the price of one, mid-price CD; they can’t be fairer than that. Given that this is such a good performance, it is unfortunate that the conductor’s extraneous mutterings are audible in a few tracks, but they are not too much of a disturbance so as to detract from one’s enjoyment. The soloists are nicely focused and the ambience is both warm and inviting, as one might expect in the Barbican’s acoustics and a good recording engineer.
Notes are provided in English but there is no French and English libretto, which seems to me to be important in an oratorio where music and words are so closely wedded to tell a story. You will be able to find a libretto online, without too much trouble.
Raymond J Walker
