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Meyerbeer: Le Prophète - Elder

Meyerbeer: Le Prophète - Elder

LSO Live  LSO0894 (3 discs)

Stereo/Multichannel Hybrid

Classical - Opera


John Osborn (Jean de Leyde)
Elizabeth DeShong (Fidès)
Mané Galoyan (Berthe)
James Platt (Zacharie)
Edwin Crossley-Mercer (Count Oberthal)
Guilhem Worms (Mathisen)
Valerio Contaldo (Jonas)
Maxime Melnik (First Anabaptist)
David Sánchez (Second Anabaptist)
Hugo Santos (Peasant)
Maîtrise des Bouches-du-Rhône
Lyon Opera Chorus
Mediterranean Youth Orchestra
London Symphony Orchestra
Sir Mark Elder (conductor)


Recorded live in concert at Festival d'Aix-en-Provence in 2023, this album sees the London Symphony Orchestra and conductor Sir Mark Elder join forces with Lyon Opera Chorus, Maîtrise des Bouches-du-Rhône, the Mediterranean Youth Orchestra, and an incredible cast of soloists to bring to life Meyerbeer's visionary historical drama, "Le Prophète".

The opera is loosely based on a true story. In the 1500s, a charismatic innkeeper is converted to Anabaptism by itinerant preachers. After becoming a preacher himself, John of Leiden came to Münster and established a tyrannical rule, renaming it Jerusalem and proclaiming himself king, before later being killed.

Add to this a bride who is a fighter, and the most formidable mother figure ever shown on an operatic stage, and "Le Prophète" is the quintessential grand opera—a spectacular large-scale work that made the Paris Opera the leading stage in Europe, and Meyerbeer a composer admired and envied by the greatest. The first performances at Paris Opera were also notable for being the first time that electrical lighting was used at that theatre, to suggest a sunrise – a process specially created by the French physicist Léon Foucault and photographer Jules Duboscq.

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Review by Graham Williams - August 12, 2024

Here is a real treat for lovers of French “grand opera” at its most ostentatious.

The operas of Giacomo Meyerbeer (1791-1864), especially those composed in collaboration with librettist Eugène Scribe, took Paris by storm in the mid 19th century giving the composer something of a rock-star status with the premier of each new spectacular production.

One need hardly say that to mount and do full justice to a work such as Le Prophète, as heard on these three SACDs, would be unthinkable for any opera house in these cash-strapped times. Fortunately on disc we can experience the music, if not the extravagant staging Meyerbeer envisaged, thanks to this marvellous performance recorded live in concert at the Festival d’Aix-en-Provence in 2023. This was a co-production with Palzzetto Bru Zane whose admirable vocation is the rediscovery and international promotion of the French musical heritage of the long nineteenth century (1780-1920).

The story, based on historical fact, concerns an innkeeper, John of Leyden, who torn between love for his fiancée (Berthe) and his mother (Fidès) abandons both to become a prophet of the Anabaptists in order to take righteous revenge for past wrongs and prevent new ones. Inevitably it all goes badly wrong and eventually he and all the main characters perish in a huge conflagration in the Münster palace.

The three leading roles are splendidly sung by John Osborn as Jean the eponymous hero, Mané Galoyan as Berthe and Elizabeth DeShong as Fidès, a role originally assigned to the legendary mezzo- soprano Pauline Viardot who sang it over 200 times during her career.

Mark Elder’s urgent conducting of the score and the superfine playing of the LSO ensures there are no longueurs throughout the opera’s five acts. The work is full of stirring choruses, magnificently delivered here by the Lyon Opera Chorus, while the music of the obligatory ballet in Act III, one that took place on a frozen lake with the dancers on roller skates, is performed with elegance and typical LSO flare.

The excellent sound on this 5.1 multi-channel SACD is a tribute to the Classic Sound team working in the fine acoustic of the Grand Théâter de Provence. The DSD256fs recording has considerable atmosphere and spaciousness, and those listening in multi-channel will notice more use of the rear channels than is often the case. Voices are well integrated into the sound picture, and what a pleasure it is to hear the LSO freed from the confines of London’s Barbican Hall revelling in this music.

The three disc boxed set includes a lavish 166 page booklet that provides an excellent synopsis of the opera, artist biographies and, most importantly, a full French/English libretto.

Those unfamiliar with French grand opera and curious to experience it should investigate this thrilling release without delay.

Copyright © 2024 Graham Williams and HRAudio.net

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Comment by Marcus DiBenedetto - October 16, 2024 (1 of 1)

Glowing reviews by Graham and others, led me to purchase this Opera. It's lengthy but with compelling melodies and engaging vocals, I am now listening for a third time. I learned the story and my listening was initially focused on the music and singing. Delightful. Finally, I am now following along with the lyrics. Conductor Sir Mark Elder proposes following along with the lyrics on initial listening. I disagree as I find that distracting. But, he gives a good overview of the Opera here on YouTube: https://www.youtube.com/watch?v=p5Yk4ARFDMw. He has several more videos about each of the Opera's acts.

A review by Mike Parr, Musicweb International, notes "This recording uses the new critical edition of the score published by Ricordi... It includes much music that was cut from the score before the 1849 premiere that was discovered in the composer’s autograph manuscript." There is an interesting story about why the cuts were made. "Curiously, (a different set of liner notes provides) ...the reasons why Jean’s role was so heavily cut before the premiere. The domineering wife of singer Gustave Roger (the first Jean) was to blame because she felt the role was making too many demands of her husband, and surprisingly, her demands were conceded to." The reviewer was favorable towards this performance.

Another reviewer, Michael Cookson, Musicweb International, gives an in depth analysis of each of the acts. He notes "Le prophète was a tremendous success right from its 1849 Paris premiere and was given some 570 performances through to 1912." His bottom line: "This is a top-drawer performance by all concerned, particularly the trio of principals."

The music has wonderful melodies. Equally important, the vocals compliment the music resulting in an emotionally satisfying experience. Sonics are superb. I hope my comments are encouraging to you. I know I was surprised by my own attraction to this Opera. I must say, the LSO has really stepped up its game with recent productions. Thanks to them for their willingness to bring this music to us.

Marcus DiBenedetto
Las Vegas, NV