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Louis-Ferdinand Hérold (1791-1833): Le Pré aux Clercs / Marie Éve Munger; Marie Lenormand; Jeanne Crousand; Michael Spyres; Éric Huchet; Christian Helmer

Audio Samples

  1. Hérold — Le pré aux clercs: Overture $0.99 on iTunes
  2. Hérold — Le pré aux clercs, Act I: Ah! Quel beau jour de fête $0.99 on iTunes
  3. Hérold — Le pré aux clercs, Act I: Ah! Reposons-nous $0.99 on iTunes
  4. Hérold — Le pré aux clercs, Act I: Les rendez-vous de noble compagnie $0.99 on iTunes
  5. Hérold — Le pré aux clercs, Act I: Holà! Ho! $0.99 on iTunes
  6. Hérold — Le pré aux clercs, Act I: Ah les chiens! $0.99 on iTunes
  7. Hérold — Le pré aux clercs, Act I: Allons! Dressons la table! $0.99 on iTunes
  8. Hérold — Le pré aux clercs, Act I: Quelle rencontre inattendue! $0.99 on iTunes
  9. Hérold — Le pré aux clercs, Act I: À la Navarre
  10. Hérold — Le pré aux clercs, Act II: Jours de mon enfance
  11. Hérold — Le pré aux clercs, Act II: Mauvaises nouvelles $0.99 on iTunes
  12. Hérold — Le pré aux clercs, Act II: Vous me disiez sans cesse $0.99 on iTunes
  13. Hérold — Le pré aux clercs, Act II: Ah! Quel plaisir! $0.99 on iTunes
  14. Hérold — Le pré aux clercs, Act II: Le Roi les mander ensemble $0.99 on iTunes
  15. Hérold — Le pré aux clercs, Act II: Tout est dit $0.99 on iTunes
  16. Hérold — Le pré aux clercs, Act II: Je suis prisonnière $0.99 on iTunes
  17. Hérold — Le pré aux clercs, Act III: À la fleur du bel âge $0.99 on iTunes
  18. Hérold — Le pré aux clercs, Act III: Eh bien! $0.99 on iTunes
  19. Hérold — Le pré aux clercs, Act III: Ah! Les voilà $0.99 on iTunes
  20. Hérold — Le pré aux clercs, Act III: Je frémis! $0.99 on iTunes
  21. Hérold — Le pré aux clercs, Act III: Nargue de la folie $0.99 on iTunes

Notes & Reviews:

With Le Pre aux clercs, premiered at the Opera-Comique in 1832, Louis-Ferdinand Herold wrote at once his biggest success and his last opera (he died three weeks after the first performance). From the Overture to the Act III finale, the simplicity of the vocal lines, the impact of the dramatic effects and the effectiveness of the choral writing testify to the flowering of Romanticism and the compose's assimilation of Rossini, then the paragon of modernity. Following the July Revolution of 1830, it was time to exorcise unfortunate memories: as was its habit, the Paris operatic world did not treat the topic of politics directly but through the fratricidal conflict that began on St. Bartholomew's Day. The basis for the libretto was a novel by Prosper Merimee published in 1829, Chronique du regne de Charles IX. The immense success of the opera, virtually contemporary with Meyerbeer's Les Huguenots, shows that it was perfectly in tune with the preoccupations of the time- and with the new ambitions of a supposedly 'light' genre.



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