Giacomo Meyerbeer (1791-1864)
Extraits de "Robert le Diable"
Extraits de "L'Africaine"
Extraits de "Le Prophète"
"Je suis seul chez moi... Parmi les pleurs", extrait de "Les Huguenots"
Extraits de "L’Étoile du Nord"
Extraits de "Dinorah ou Le Pardon de Ploërmel"


Hjördis Thébault, soprano
Pierre-Yves Pruvot, baryton
Svetoslav Obretenov Choir
Ilia Mihaylov, direction
Orchestre Philharmonique de Sofia
Didier Talpain, direction

Voilà une somptueuse compilation d’airs des six opéras français de Meyerbeer qui fut aussi célèbre en son temps qu’oublié quelques années après sa mort. Pourtant, il a réuni le meilleur des arts allemand, italien et surtout français ce qui correspond aux trois périodes de sa vie. Les voix sont superbes : la soprano Hjördis Thébault donne une intensité émouvante dans « Robert, toi que j’aime » et Pierre-Yves Pruvot atteint des sommets d’expressivité dans « Le Pardon de Ploërmel ». L’orchestre sonne comme on l’imagine à l’époque parisienne de Meyerbeer. Didier Talpain est un chef expérimenté et qui vit intensément la musique. Tout est précis, clair, net et les voix sont magnifiquement servies. Il serait injuste de ne pas citer le chœur préparé par Ilya Mikhailov. Une mention particulière pour l’excellent livret signé par le chef et qu’il est absolument indispensable de lire. Ce qui caractérise ce panorama lyrique « in France » c’est la cohérence et l’impression que l’on ressent à la fin de l’écoute, d’une unité musicale totale. Un bonheur à faire partager sans modération ! (Jean Bacot)

Renowned in his lifetime, Giacomo Meyerbeer – born Jakob Liebmann Meyer Beer – was one of the first opera composers to truly establish himself as master of the genre. His fame was at a height in the mid 19th century, as he managed to produce hit after hit in the grand opéra style. Like his contemporary Halévy, he was one of the first truly successful Jewish composers, at a time when Jews’ roles in society were changing fast; many of his operas, therefore, explore themes of societal exclusion and otherness. These include Robert le Diable, in which the eponymous Robert is the son of the Devil, the spectacular Les Huguenots, which depicts the 1572 massacre of French Huguenots at the hands of the ruling Catholics, and Le Prophète, featuring the sinister Anabaptist sect. Although Meyerbeer takes on big themes – good versus evil, the clash of large political forces – his true compositional strength lies in his masterful portrayal of the characters’ emotional anguish and joy, as the audience mourns and celebrates with them throughout. This release features some of the bestknown arias from Meyerbeer’s French operas, when he was at the height of his creative output. Isabelle’s torment at Robert’s diabolical behaviour in Robert le Diable, as the protagonist turns to witchcraft and eschews his worldly power, is beautifully depicted in the sweet and soothing melody line, as Isabelle seems to weave a spell over the tormented man. Act Four of Les Huguenots contains a beautiful recitative and aria for soprano, ‘Je suis seule chez moi’, and was first sung by Cornélie Falcon. Her dramatic, exceptionally powerful voice was renowned in her lifetime, and led to the term ‘falcon soprano’ – now the established tone for sopranos taking on Meyerbeer’s arias. Certainly, none of the artists on this album disappoint. Experienced French singers Hjördis Thébault and Pierre-Yves Pruvot – who between them have performed in opera houses around the world – are brilliantly supported by the Sofia Philharmonic Orchestra, conducted by Didier Talpain, a dedicated champion of French opera who has previously staged works by Meyerbeer, Bizet and Saint-Saëns.