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Music : Bizet - Les Pêcheurs de Perles (The Pearl Fishers) / Hendricks, Aler, Quilico, Capitole de Toulouse, Plasson
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Rating: 
- A clear first choice
This recording is a must have.
For many years after it's premiere. "The Pearl Fishers" held a place in the repertoire nearly as important as "Carmen", but its popularity dropped significantly during the course of the 20th century. A compelling case for the opera is made with this recording.
Barbara Hendricks, John Aler, and Gino Quilico are three of the most stylish, musical, and intelligent singers of their generation. They constitute an un-French cast proving to be (as each has done elsewhere) remarkable exponents of French style. They each contribute a beautiful, idiomatic performance that is truly glorious. Hendricks and Aler are just plain exquisite. Quilico is the best Zurga on record, and his dynamic performance keeps the dramatic balance on the baritone.
Michele Plasson leads a wonderful performance, capturing Bizet's atmospheric colors and dramatic contrasts with a skill hardly equaled on other recordings. He utilizes the orchestra and chorus to maximum effect throughout. The dramatic choral finale of the second act is magnificent and spine tingling; in lighter passages of the score when delicacy is called for, that is what is delivered.
Questions of performance edition, and what is and is not really Bizet, are points well covered elsewhere. However, I must praise the choice here to end the opera with the cathartic reprise of the melody from the Act 1 tenor / baritone duet. Sung by the tenor and soprano in the finale, it reinforces the conflicted friendship between the two men as the thematic and moral center if the opera.
Given the performances, conducting, and recorded sound superior to earlier releases, this recording is a clear first choice.
- A clear first choiceThis recording is a must have.
For many years after it's premiere. "The Pearl Fishers" held a place in the repertoire nearly as important as "Carmen", but its popularity dropped significantly during the course of the 20th century. A compelling case for the opera is made with this recording.
Barbara Hendricks, John Aler, and Gino Quilico are three of the most stylish, musical, and intelligent singers of their generation. They constitute an un-French cast proving to be (as each has done elsewhere) remarkable exponents of French style. They each contribute a beautiful, idiomatic performance that is truly glorious. Hendricks and Aler are just plain exquisite. Quilico is the best Zurga on record, and his dynamic performance keeps the dramatic balance on the baritone.
Michele Plasson leads a wonderful performance, capturing Bizet's atmospheric colors and dramatic contrasts with a skill hardly equaled on other recordings. He utilizes the orchestra and chorus to maximum effect throughout. The dramatic choral finale of the second act is magnificent and spine tingling; in lighter passages of the score when delicacy is called for, that is what is delivered.
Questions of performance edition, and what is and is not really Bizet, are points well covered elsewhere. However, I must praise the choice here to end the opera with the cathartic reprise of the melody from the Act 1 tenor / baritone duet. Sung by the tenor and soprano in the finale, it reinforces the conflicted friendship between the two men as the thematic and moral center if the opera.
Given the performances, conducting, and recorded sound superior to earlier releases, this recording is a clear first choice.