Lossless DEBUSSY – Pell�as et M�lisande suite, Le martyre de saint s�bastien

Rundfunkchor Berlin
Berliner Philharmoniker
Claudio Abbado

Pell�as et M�lisande: Concert Suite by Claude Debussy

Acte 1: Une foret
Acte 2, scene 1: Une fontaine dans le parc
Acte 3, scene 2: Les souterrains du chateau – Acte 4, scene 2: Un appartement dans le chateau
Acte 5: Une chambre dans le chateau

This Pell�as et M�lisande Suite, based on Erich Leinsdorf�s arrangement, consists primarily of the opera�s preludes and orchestral interludes. Abbado includes additional passages containing the opera�s main thematic elements. It�s mostly very quiet music (except for the dramatic Act 4 interlude) and in this setting sounds a lot like Debussy�s Martyrdom of Saint Sebastian. As in his justly lauded 1992 DG recording of the complete opera, Abbado is highly attuned to the delicate shadings and intricate timbres of this brilliant score.

https://mega.co.nz/#F!A1BHhB7a!kB-hM91LA3r3n5E_lS5V9Q

Le Martyre de St. S�bastien: Fragments symphoniques

1. La Cour de Lys (The Court of Lilies)
2. Danse extatique et Final du 1er Acte (Ecstatic Dance and Finale of the 1st Act)
3. La Passion (The Passion)
4. Le Bon Pasteur (The Good Shepherd)

https://mega.co.nz/#F!51BQXZoC!6Skt1qVCp4_vQogRzD3ZZw

Debussy accepted the commission in February 1911. Some of the material was orchestrated by Andr� Caplet. During auditions for the female semi-chorus, the chorus director D�sir�-�mile Inghelbrecht suggested, on hearing Ninon Vallin, that she take over the role of the celestial voice. As Rose F�art (who had been engaged) was absent from the general rehearsal, Vallin sang the role and Debussy insisted on her singing it in the production.

The premiere had sets and costumes designed by L�on Bakst, stage direction by Armand Bour and choreography by Michel Fokine. The orchestra was conducted by Andr� Caplet, and D�sir�-�mile Inghelbrecht directed the chorus. Alongside Rubinstein as Saint S�bastien, Adeline Dudlay sang La M�re douloureuse, Vera Sargine sang La Fille malade des fi�vres, Ninon Vallin was the off-stage voice, Desjardins was the emperor, and Henry Krauss was the pr�fet.

Though the first Gabriel Astruc production was attended by scandal (the Archbishop of Paris requested Catholics not attend because the dancer playing St. Sebastian was a woman and a Jew), the work was not successful and did not enter the repertoire; thanks to Debussy’s score, however, it has been recorded in abridged and adapted versions several times�notably by Pierre Monteux (in French), Leonard Bernstein (sung in French, acted in English), and Michael Tilson Thomas (in French).

Though Debussy’s complete score still exists and can be performed in its original form (including linking narration taken from the original play, if the story is not staged), the work is very seldom heard in this way. More often performed is a four-movement orchestral suite made up of music extracted from the score and subtitled ‘Fragments Symphoniques’ (Symphonic Fragments). In addition, there are also two short brass fanfares which are sometimes presented with the symphonic fragments.

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