Berlioz - Te Deum / Alagna, M-C. Alain, Orchestre de Paris, Nelson
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Music CD Cover
Edition: Music CDCD Release Date: 2001-04-10
Music Label: EMI Classics
Soundtracks:
- Te Deum, Op.22: I. Te Deum Laudamus Hymne
- Te Deum, Op.22: II. Tibi Omnes Hymne
- Te Deum, Op.22: Prld
- Te Deum, Op.22: III. Dignare Priere
- Te Deum, Op.22: IV. Tu, Christe, Rex Gloriae Hymne
- Te Deum, Op.22: V. Te Ergo Quaesumus Priere
- Te Deum, Op.22: VI. Judex Crederis Hymne Et Priere
- Te Deum, Op.22: March For The Presentation Of The Colours - Orchestre De Paris
Free Music Notes for Berlioz - Te Deum / Alagna, M-C. Alain, Orchestre de Paris, Nelson
Free Music Review: Extroverted and thrilling despite slightly edgy sonics
Hit: 4 Stars
The Te Deum is one of Berlioz's architecturally conceived works, and the space around the music is vitally important to the end result. The acoustic in this recording is artificially built, the Parisian orchestra and singers recorded in the Salle de la Mutualit? and the organ at the Church of the Madeleine, both very big rooms. The result is surprisingly effective and combines spacious reverberation with enough (if not total) clarity of detail. The recording manages to sound like one location, although the sound image is a little flat. Also surprising given the large spaces is the slightly edgy treble and some lightness on the bass end.
It's in the balance among the performing forces that the engineers have attempted to suggest spatial separation. The large orchestra and organ are evenly balanced, with the choir some distance behind. This gives a two-channel approximation of the equality of organ and orchestra, which Berlioz actually wanted at different ends of the building speaking back and forth. (Dare we hope for a recording on surround-sound SACD someday?) There are a number of times, however, when the choirs are too far back in the mix. It sounds like all three choirs needed more singers, but maybe this is just recording booth slight-of-hand.
Nelson's performance is highly energized and rhythmically pointed. The spirit is martial and triumphant rather than devout and spiritual. This also helps the performance punch through the many seconds of reverberation. The emphasis on edgy wind color points out the Te Deum's relationship to the Symphonie Fun?bre et Triomphale.
The Madeleine's Cavaill?-Coll organ is exactly contemporary with the Te Deum and produces the big, reedy sound Berlioz would have expected.
Alagna's solo is musical and tonally beautiful, but don't expect a French tenor sound.
In short, this is an exciting performance for a grand public event, mostly "gloire" and light on the "m?ditation". The optional March and Prelude movements that Berlioz intended for use only at state occasions fit right in here. In their competing Philips recording, Colin Davis and the LSO give the work a grandly reverential reading with generally darker orchestral colors. Both concepts work very well. (Some listeners may feel that the fine Keene performance is not a front-rank contender because of a too soft focus recording.) Nelson's performance is certainly among the best.
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