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Berlioz: Les Troyens

Box Set, Reissued, Live

Mark Stone Format: Audio CD
4.3 4.3 out of 5 stars 50 ratings
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Track Listings

Disc: 1

1 Act One, No.1 Chor: Ha, Ha! Apres Dix Ans - London Sym Chor/Stephen Westrop
2 Act One, No.2 Recitative And Aria: Les Grecs Ont Disparu! - Petra Lang
3 Act One, No.2 Recitative And Aria: Malheureux Roi! - Petra Lang
4 Act One, No.3 Duet: C'est Lui! - Petra Lang
5 Act One, No.3 Cavatina: Reviens A Toi, Vierge Adoree!/Pauvre Ame Egaree!/Si Tu M'aimes, Va-t'en... - Peter Mattei/Petra Lang
6 Act One, No.4 March And Hymn: Dieux Protecteurs De La Ville Eternelle - London Sym Chor/Stephen Westrop
7 Act One, No.5 Gauntelet Combat - Wrestlers' Dance - LSO/Sir Colin Davis
8 Act One, No.6 Pantomime - London Sym Chor/Stephen Westrop/Petra Lang
9 Act One, No.7 Recitative: Du Peuple Et Des Soldats - Ben Heppner
10 Act One, No.8 Octet And Double Chor: Chaitment Effroyable! - Alan Ewing/Tigran Martirossian/Peter Mattei/Ben Heppner/Bulent Bezduz/Petra Lang/Isabelle Cals...
11 Act One, No.9 Recitative And Chor: Que La Deesse Nous Protege - Ben Heppner/Alan Ewing/Michelle DeYoung/Petra Lang/Sara Mingardo/Peter Mattei/Stephen Milling...
12 Act One, No.10 Aria: Non, Je Ne Verrai Pas La Deplorable Fete - Petra Lang
13 Act One, No.11 Finale (Trojan March): De Mes Sens Eperdus - Petra Lang/London Sym Chor/Stephen Westrop

Disc: 2

1 Act Two, Scene 1, No.12 Scene And Recitative: Intro - LSO/Sir Colin Davis
2 Act Two, Scene 1, No.12 Scene And Recitative: Intro - LSO/Sir Colin Davis
3 Act Two, Scene 1, No.12 Scene And Recitative: Intro: O Lumiere De Troie!/Ah!...Fuis, Fils De Venus - Ben Heppner/Orlin Anastassov
4 Act Two, Scene 1, No.13 Recitative And Chor: Quelle Esperance Encor Est Permise - Ben Heppner/Tigran Martirossian/Isabelle Cals/Peter Mattei
5 Act Two, Scene 2, No.14 Chor (Prayer): Ha, Puissante Cybele - London Sym Chor/Stephen Westrop
6 Act Two, Scene 2, No.15 Recitative And Chor: Tous Ne Periront Pas/Oh Digne Soeur D'Hector - Petra Lang/London Sym Chor/Stephen Westrop
7 Act Two, Scene 2, No.16 Finale: Complices De Sa Gloire/Le Tresor! Le Tresor! - London Sym Chor/Stephen Westrop/Petra Lang/Mark Stone
8 Act Three, No.17 Chor: De Carthage Les Cieux - London Sym Chor/Stephen Westrop
9 Act Three, No.18 Nat Anthem: Gloire A Didon - London Sym Chor/Stephen Westrop
10 Act Three, No.19 Recitative And Aria: Nous Avons Vu Finir Sept And A Peine - Michelle DeYoung/London Sym Chor/Stephen Westrop
11 Act Three, No.19 Recitative And Aria: Chers Tyriens - LSO/Sir Colin Davis
12 Act Three, No.20 Entry Of The Builders - LSO/Sir Colin Davis
13 Act Three, No.21 Entry Of The Sailors - LSO/Sir Colin Davis
14 Act Three, No.22 Entry Of The Farm-Workers - LSO/Sir Colin Davis
15 Act Three, No.23 Recitative And Chor: Peuple! Tous Les Honneurs - Michelle DeYoung/London Sym Chor/Stephen Westrop
16 Act Three, No.24 Recitative And Duet: Les Chants Joyeux - Michelle DeYoung/Sara Mingardo
17 Act Three, No.25 Recitative And Aria: Echappes A Grand Peine - Kenneth Tarver/Michelle DeYoung
18 Act Three, No.25 Recitative And Aria: Errante Sur Les Mers - Michelle DeYoung
19 Act Three, No.26 Trojan March (In The Minor Mode): J'Eprouve Une Souldaine Et Vive Impatience - Michelle DeYoung
20 Act Three, No.27 Recitative: Auguste Reine, Un Peuple Errant Et Malheureux - Isabelle Cals/Michelle DeYoung/Tigran Martirossian
21 Act Three, No.28 Finale: J'Ose A Peine Annoncer La Terrible Nouvelle!/Reine! Je Suis Enee!... - Stephen Milling/Michelle DeYoung/London Sym Chor/Stephen Westrop/Ben Heppner/Petra Lang...

Disc: 3

1 Act Four, Scene 1, No.29 Royal Hunt And Storm (Pantomime) - LSO/Sir Colin Davis
2 Act Four, Scene 2, No.30 Recitative: Dites, Narbal, Qui Cause Vos Alarmes? - Sara Mingardo/Stephen Milling
3 Act Four, Scene 2, No.31 Aria: De Quels Revers Menaces-tu Carthage - Stephen Milling
4 Act Four, Scene 2, No.31 Cavatina: Vaine Terreur - Sara Mingardo
5 Act Four, Scene 2, No.31 Aria And Cavatina: De Quels Revers Menaces-tu Carthage - Stephen Milling/Sara Mingardo
6 Act Four, Scene 2, No.32 March For The Entry Of The Queen - LSO/Sir Colin Davis
7 Act Four, Scene 2, No.33.Ballets: Dance Of The Egyptian Dancing Girls - LSO/Sir Colin Davis
8 Act Four, Scene 2, No.33.Ballets: Dance Of The Slaves - LSO/Sir Colin Davis
9 Act Four, Scene 2, No.33.Ballets: Dance Of The Nubian Slave Girls - LSO/Sir Colin Davis
10 Act Four, Scene 2, No.34.Scene And Iopas' Song: Assez, Ma Soeur - Michelle DeYoung
11 Act Four, Scene 2, No.34.Scene And Iopas' Song: O Blonde Ceres - Kenneth Tarver
12 Act Four, Scene 2, No.35 Recitative And Qnt: Pardonne, Iopas - Michelle DeYoung/Ben Heppner
13 Act Four, Scene 2, No.35 Recitative And Qnt: O Pudeur! Tout Conspire - Michelle DeYoung/Ben Heppner/Sara Mingardo/Kenneth Tarver/Stephen Milling
14 Act Four, Scene 2, No.36 Recitative And Sept: Mais Bannissons Ces Tristes Souvenirs - Ben Heppner
15 Act Four, Scene 2, No.36 Recitative And Sept: Tout N'est Que Paix Et Charme - Michelle DeYoung/Ben Heppner/Isabelle Cals/Sara Mingardo/Kenneth Tarver/Stephen Milling...
16 Act Four, Scene 2, No.37 Duet: Nuit D'ivresse Et D'extase Infinie! - Michelle DeYoung/Ben Heppner/Leigh Melrose

Disc: 4

1 Act Five, Scene 1, No.38 Hylas Song: Vallon Sonore - Toby Spence/Andrew Greenan/Roderick Earle
2 Act Five, Scene 1, No.39 Recitative And Chor: Preparez Tout, Il Faut Partir Enfin/Chaque Jour... - Tigran Martirossian/London Sym Chor/Stephen Westrop
3 Act Five, Scene 1, No.40 Duet: Par Bacchus! Ils Sont Fous Avec Leur Italie! - Andrew Greenan/Roderick Earle
4 Act Five, Scene 1, No.41 Recitative And Aria: Inutiles Regrets! - Ben Heppner
5 Act Five, Scene 1, No.41 Recitative And Aria: Ah! Quand Viendra L'instant Des Supremes Adieux - Ben Heppner
6 Act Five, Scene 1, No.42 Scene: Enee! - London Sym Chor/Stephen Westrop/Ben Heppner
7 Act Five, Scene 1, No.43 Scene And Chor: Debout, Troyens, Eveillez-vous, Alerte!/Alerts!... - Ben Heppner/London Sym Chor/Stephen Westrop
8 Act Five, Scene 1, No.44: Duo And Chor: Errante Sur Tes Pas - Michelle DeYoung/Ben Heppner
9 Act Five, Scene 1, No.44: Duo And Chor: Italie! - Ben Heppner/London Sym Chor/Stephen Westrop
10 Act Five, Scene 2, No.45 Scene: Va, Ma Soeur, L'implorer - Michelle DeYoung/Sara Mingardo
11 Act Five, Scene 2, No.46 Scene: En Mer, Voyez! Six Vaisseaux! - London Sym Chor/Stephen Westrop/Kenneth Tarver/Michelle DeYoung/Sara Mingardo/Stephen Milling
12 Act Five, Scene 2, No.47 Monologue: Ah! Ah! Je Vais Mourir - Michelle DeYoung
13 Act Five, Scene 2, No.48 Aria: Adieu, Fiere Cite - Michelle DeYoung
14 Act Five, Scene 3, No.49 Ceremony For The Dead: Dieux De L'oubli', Dieux Du Tenare - London Sym Chor/Stephen Westrop/Sara Mingardo/Stephen Milling
15 Act Five, Scene 3, No.50 Scene: Pluton...Semble M'etre Propice... - Michelle DeYoung
16 Act Five, Scene 3, No.51 Chor: Ah! Au Secours! Au Secours! La Reine S'est Frappee! - Ben Heppner/Michelle DeYoung/Petra Lang/Sara Mingardo/Peter Mattei/Stephen Milling/Kenneth Tarver...
17 Act Five, Scene 3, No.52 Imprecation: Rome...Rome...Immortelle!/Haine Eternelle A La Race D'enee! - Michelle DeYoung/London Sym Chor/Stephen Westrop

Editorial Reviews

Product Description

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The epic tale of the fall of Troy haunted Berlioz from childhood and inspired some of his most passionately dramatic, richly colorful music. This is Colin Davis's second recording of Les Troyens, following his (out-of-print) 1969 version. Magnificent though it was, some reckoned that reading lacked something in zip. Here, however, such reservations could never apply. Recorded across several lavishly praised concert performances in London in December 2000, this Troyens has an extraordinary electricity and rhythmic drive.

Ben Heppner combines lyricism with heroic strength as Aeneas, while Michelle de Young as Dido, though not erasing memories of Janet Baker's brilliance in the role, produces a ravishing, creamy sound. Both perhaps lack the last ounce of character (and their French is occasionally flat-vowelled). Petra Lang as Cassandra is attention-grabbing from the start of the opera with her panache and commitment. Also catching the ear are Stephen Milling's granitelike Narbal and Sara Mingardo's bewitching tones as Anna. The LSO gives its magnificent all and the London Symphony Chorus is likewise in terrific form, although some will miss the clear-cut timbre of a full-fledged opera chorus. The ultimate stars, though, are Berlioz and his faithful champion, Davis. --Andrew Green

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 5.68 x 5.14 x 0.93 inches; 8.16 ounces
  • Manufacturer ‏ : ‎ London Symphony Orchestra
  • Item model number ‏ : ‎ LSO010
  • Original Release Date ‏ : ‎ 2018
  • SPARS Code ‏ : ‎ DDD
  • Date First Available ‏ : ‎ September 2, 2000
  • Label ‏ : ‎ London Symphony Orchestra
  • ASIN ‏ : ‎ B000063DQA
  • Number of discs ‏ : ‎ 4
  • Customer Reviews:
    4.3 4.3 out of 5 stars 50 ratings

Customer reviews

4.3 out of 5 stars
4.3 out of 5
50 global ratings

Top reviews from the United States

William C. Lloyd
5.0 out of 5 stars Incredible. I heard this on the Dayton public radio and had to have it.
Reviewed in the United States on May 24, 2015
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Incredible. I heard this on the Dayton public radio and had to have it.
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Sir Butternut Longsword
5.0 out of 5 stars Great Opera, best performance of disc
Reviewed in the United States on January 8, 2007
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I enjoyed this version more than Davis' old version. Casandre is stunning in her opening aria and the sound is wonderful. Hepner is slightly an odd choice for the role but all others are great(and i do love hepner)
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FD
3.0 out of 5 stars I will stick to older versions...
Reviewed in the United States on March 4, 2002
While beautiful in sound (despite the live), well conducted and full of spirit and enthusiasm, and arguably benefiting from better voices than the Dutoit version, this version can't match the appropriateness of the singing (and of the French) of the likes of Dame Janet Baker, tenors George Thill and Nicolai Gedda - or even Domingo in the Met telecast version. In particular Heppner is in my opinion somewhat lacking in this - despite obvious efforts toward purity of line and restraint in using the huge vocal means, he stops far short of his illustrious predecessors in these and in nobilty of tone - for example the nasal recitatives are more Wagnerian than Berliozian. He also needs very significant work on the French language. Hardly a word is understandable, and we are served mash potatoes, by Heppner, Martirossian, and de Young. Andrew Greenan is a very notable and appreciated exception in that regard.
I guess no single record set does this extraordinarily complex and expansive work justice, and this one is certainly valuable in many regards - but very, very far from definitive. What a shame it is treated as such by the record companies - and that other key versions, such as the vastly superiorly sung (IMHO) 1969, are no longer available.
9 people found this helpful
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ANTHONY PARISI
4.0 out of 5 stars Four Stars
Reviewed in the United States on December 22, 2014
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robin friedman
5.0 out of 5 stars Grand Berlioz
Reviewed in the United States on December 27, 2006
Berlioz' monumental opera, "Les Troyens" opens with the false gift of the Trojan horse from the Greeks to the Trojans which results in the fall of Troy. But Berlioz' opera, in contrast to the Trojan horse, is a true and lasting gift. We are fortunate that it is available to be heard and enjoyed. Little known and little performed for many years, the opera came into its own only in the mid-20th Century. Sir Colin Davis has probably done more than any other conductor to champion "Les Troyens" and Berlioz' other large-scale masterworks. He has recorded the work twice, first in the late 1960s and again in 2000 in a live performance with the London Symphony Orcehstra. It is this second version, which won two Grammy awards and sells at a lesser price than the first version, that I am reviewing here. Opinions vary regarding the respective merits of the two recordings. Whichever you choose, this is grand, dramatic and essential music, and you must hear it. I would like to give a little background on the work.

"Les Troyens" is a long, complex and massive work which Berlioz (1803 -- 1869) completed in 1858. (The opera covers 4 CDs and runs four hours.) Berlioz wrote both the liberetto and the music for his opera, with the goal of integrating the drama of the story with the music. In the way he approached opera, Berlioz followed the path of his musical hero, Gluck, the great 18th Century operatic reformer. At the age of 18, Berlioz was inspired to become a composer with he heard a performance of Gluck's "Iphigienie in Tauris". Berlioz is responsible for rearrangements of several Gluck operas, including "Orpheus". While working on "Les Troyens" Berlioz wrote that "if Gluck were to return to earth and hear it, he would say of me 'this is my son'". In its five-act format, in the expansive, passionate character of the music, in the marches, dances, and pantomines, and its grand, classical theme, and in the connection of liberetto, Berlioz' opera shows him indeed as a "son" and great successor of Gluck.

Berlioz' liberetto for "Les Troyens" reflects his great love of Virgil's Aeneid. The first two acts of the opera tell the story of the fall of Troy, through the Trojan Horse, the death of the prophet Cassandra, and the escape of Aeneas. The final three acts of the opera tell the story of Dido and Aeneas, as Aeneas and his men land in the growning city of Carthage. Aeneas's men help the Trojans fend off an invasion, but, more importantly, Aeneas and the Trojan queen Dido fall in love. The gods demand that Aeneas leave Dido and Carthage and proceed to Italy to found Rome. Heartbroken and furious, Dido curses Aeneas, builds a huge pyre, and kills herself.

"Les Troyens" requires a large cast to perform, and the music is of endless scope and variety. Aeneas is the only character that is prominent in both parts. In both sections of the opera, passionate roles are given to the women leads. In the first two acts, Cassandra prophecies fruitlessly, sings of her unconsummated love for Chorebe, her fiance, and commits suicide with many Trojan women rather than be slaves to the Greeks. The second part of the opera belongs to Dido, as she sings passionately of her love for Aeneas and with terrible and everlasting fury upon her betrayal. Berlioz obviously loved his character. Aeneas is a virtuoso role, with many long taxing and high vocal passages.

There is music of martial glory, tragedy, love, peace, anger, and even humor throughout "Les Troyens." The ghosts of Hector and Cassandra appear and play important roles in the development of the story. I found the performance of the cast in this recording, with tenor Ben Heppner as Aeneas, mezzo-soprano Michelle DeYoung as Dido, and mezzo-soprano Petra Lang as Cassandre outstanding. I thought DeYoung's Dido was particualy impressive.

"Les Troyens" is great music indeed. The opera is the culmination of Berlioz' work as a composer and a tribute to Gluck, If you love music, you should get to know "Les Troyens". This recording is an excellent way to do so.

Robin Friedman
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G.D.
5.0 out of 5 stars A magnificent achievment
Reviewed in the United States on February 19, 2010
Colin Davis has, famously, recorded Les Troyens before, in 1969. The cast for that recording was even stronger than the cast assembled for him on this 2000 live recording, but the power, flare and magnificence of the present release is unsurpassed. I am not saying that this new one supersedes the old set, but given that most people might (I suspect) not want to purchase both the reader should feel confident in choosing this one; performance-wise they have complementary virtues, but this new LSO Live release also has a price advantage.

Among the virtues of this marvelous performance is at least - among other things - the way Davis achieves seamlessness and overall cogency and flow, emphasizing the various atmospheres and details but making the transitions sound almost effortless, and equipping the score with immense cumulative impact on the way - sort of like taming this wild, rugged, multi-headed mythological monster enough to make it do the work it can do without making it toothless or tapping its ferocity or strength. The orchestral and choral details are indeed glittering and brilliant, and the power of the score remains stunning.

What about the singers? Ben Heppner's Aeneas is superb, with a firm and beautiful tone, intelligent and subtle and always gracefully elegant (Vickers on the older set is such a different kind of singer that comparisons are impossible). Michelle DeYoung as Dido is more problematic; a little insecure sounding and frail, but by all means more than satisfactory for the most part - some more power and command would not have gone amiss, however. Petra Lang's Cassandra is scintillating, on the other hand, and so is Peter Mattei. The rest of the cast provides much beautiful singing - perhaps a little too beautiful and lacking in power and depth overall; the exception is the voluptuously-sounding, authoritative and seductively brilliant Sarah Mingardo.

Sound quality is excellent, with little audible evidence that we are listening to a live performance - apart, perhaps, from the power and drive of the music. Now, there are several alternative performances out there of what I think is Berlioz's strongest score overall, but my familiarity with these is admittedly limited (apart from the previous Davis one). Yet I cannot imagine that this set is surpassed by any of them (even if, as Davis's own previous set shows, there are several paths to glory with this music). In short: very strongly recommended.
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Aged Skier
5.0 out of 5 stars A used CD of Les Troyens from Music Magpie
Reviewed in the United Kingdom on October 12, 2021
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I have always liked The Tojans but the cost of a 4 -CD box has always put me off. This one came second hand from Music Magpie, for whom I have nothing but praise. It was rated "Very Good" and cost me £5 including postage. Well..............how can you do better than that? and "Very Good" actually meant indistinguishable from new, it was in pristine condition with not a mark on it. I have not actually played it yet but it is Colin Davies with the London Symphony Orchestra so it has to be reasonable at least.
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Vorname Nachname
5.0 out of 5 stars Berlioz's Meisterwerk
Reviewed in Germany on November 5, 2017
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Ich bin sehr zufrieden,sehr schneller Versand.Die Ware war Tadellos!
Gerne wieder.
Musikalisch für mich sehr intensiv.
Die Musik hat mich ein ganzes Stück durch den Alltag begleitet😊
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Cliente Amazon
5.0 out of 5 stars un monumento in musica
Reviewed in Italy on April 19, 2017
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come definire les troyens di Berlioz. Un opera monumentale, considerata ineseguibile, in essa la grandezza di Berlioz unita alla grandeur francese. Grande, grandiosa, grandissima con una rosa di interpreti da togliere il fiato. Ottima esecuzione. In rapporto alla precedente di trent'anni fa sir Colin Davis ottiene tutte le sue cinque stelle. Da avere, in attesa del prossimo che uscira' in autunno. Amazon puntuale come sempre.
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ｺｰｷﾛﾏﾝﾊ
5.0 out of 5 stars すばらしい!!
Reviewed in Japan on February 17, 2019
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今年はベルリオーズ没後150年。ベルリオーズってなんとなくフランスの作曲家ということからドイツロマン派音楽に比べややマイナーなイメージがあるような。幻想交響曲、せいぜいロメオとジュリエットくらいが口の端に上る曲でベルリオーズをよく聴く、ということは余り言われない。グノーやオッフェンバック等のフランス作曲家に比べればはるかにバリエーション広く活躍していると思うのに残念。音楽は確かにドイツロマン派に比べれば形式にこだわらず自由に奔放に造っている感じがするので、確かに時代を先行し過ぎたのかもしれない。この「トロイアの人々」、4時間を越える超大作で時間だけでは「神々の黄昏」に匹敵する。終始、いかにもベルリオーズという音楽と合唱、アリアに満たされていて全く退屈しない。ネタはローマ建国叙事詩がベースで史実ではないけどトロイア戦争とトロイア人のその後を描いている。話自体とても劇的でスペキュタキュラー。退屈しないで一気に聴ける。コリン・デイヴィスさんは何回か録音しているけど、どれも文句無く名演奏。これもそう。最近新譜も出ている。もっとベルリオーズの人気が出ればよい、と思う。
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RUTA MARIA LELIUNAS
5.0 out of 5 stars Un capolavoro dimenticato
Reviewed in Italy on January 19, 2019
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Colin Davis, uno dei pochi specialisti di Berlioz, fa rivivere questo capolavoro raramente rappresentato con la sua magistrale bacchetta.
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