Hector Berlioz - Béatrice & Bénédict (1862) - "Nuit paisible" (Sylvia McNair & Catherine Robbin)

"A caprice written with the point of a needle" - Berlioz on "Beatrice et Benedict".

The comic opera "Beatrice et Benedict", based on a simplified version of the plot of Shakespeare's "Much ado about nothing" and composed between 1860 and 1862, was Berlioz's last major work and, though warmly received at the premiere at Baden-Baden, it never gained a place in the standard repertory.

The plot, as it is usually with Shakespeare, is clearly drawn: Beatrice (mezzo-soprano, niece of the governor of Messina, Leonato) scorns the soldier Benedict (tenor) who returns her favors. Under the direction of Benedict's brothers-in-arms, Don Pedro (bass) and Claudio (baritone), the whole cast begins to float a rumor that the pair are actually madly in love with each other which leads both to question the nature of their dislike for each other. The plot culminates during Claudio's (baritone) and Hero's (soprano, daughter of Leonato) wedding where a second blank contract is produced and promptly and willingly signed by both the title heroes to the joy of all assembled.

It would be all too difficult to describe my joy as I finally began listening to the opera which I have been eagerly awaiting to hear for quite some time. In some ways, the experience was well worth the long wait. Overall, I enjoyed it much more than, for example, "Cellini": refusing the brutality and extremes of the latter, "Beatrice" adopts a more elegant musical idiom, somewhat similar, in my opinion, to the wit of Rossini and the grace of Paisiello and Mozart, and, in fact, a more conservative musical language, thus, most numbers feature the familiar andante-allegro structure further aided by the inner energy of Berlioz's music. There is little altogether lacking in musical inspiration: even the pointless addition by Berlioz of the character of the music master, Somarone (bass), gives way to some of the most enchanting babble. One can note several obvious examples of Berlioz's generous music making, such as the suitably fresh entrance duet for the title heroes. If there is a problem with the work, it has to be the treatment of the main conflict itself: the plot to bring together the "lovers" of the title is thinly developed, thus, the final denouement is somewhat unsatisfying, as we have not been able to see the growth of felling between the ill-fated enemies (come to think of it, neither is Shakespeare's variant better). An additional hour of confusion for the heroes would have helped to make their final marriage more believable. Moreover, such a situation leads to a felling of constant omissions: for example, there is no logical duet between the lovers, as they confront each other and their feelings for each other near the end of the work. This underrepresentation does not, though, detract from the extreme charm of the piece and its great musical richness, quite the contrary: the overall effect is that of a work left unfinished by its creator but still offering much joy and thrill, almost demanding the question "How it could have been, if the composer were to continue?"

The recording is an excellent one, featuring some truly outstanding female singing:

John Nelson - Conductor,
Orchestra - Opéra de Lyon.

Béatrice - Susan Graham,
Bénédict - Jean-Luc Viala,
Héro - Sylvia McNair,
Ursule - Catherine Robbin,
Claudio - Gilles Cachemaille,
Somarone - Gabriel Bacquier,
Don Pedro - Vincent Le Texier.

Hope you'll enjoy :).

P.S. I'm going to post some additional music tomorrow :).

Category:

Music

Tags:

• Berlioz
• romantic
• Shakespeare
• notturno
• duet
• coloratura
• classical

[furiozara]

Ohhh Berlioz....Superb duet!....

[septethe]

Admirable! Superbe! Voluptueux!

[mehzark]

I recently attended the Opera Boston performance of this opera at the Cutler Majestic Theatre in Boston. Hero and Ursule were sung by Heather Buck and Kelley O'Connor respectively. The duet was moving; beautifully performed. This rendition is beautifully done as well.

[mehzark]

This duet melts my soul.

[thesafekind]

Berlioz was a fascinating character - one of the great Romantics, yet he ended his career as sort of a large-scale neo-Classicist. LES TROYENS is very influenced by Gluck and this opera, his last work, is in the spirit of Mozart, especially the Mozart of COSI FAN TUTTE.

The music is quite wonderful in BEATRICE; it's just that dramatically it's hard to stage (most of the little action is in the dialogue, and there's a ton of it).

[hippolyteLondon]

magnifique

[ETNEWMAN1]

Can someone explain why there is not a single DVD of the wonderful opera?

ETNEWMAN1

[manlyman80345]

I cannot begin to describe how beautiful this is.

[manlyman80345]

4:39 to the end, utterly brilliant.

[lyrikinside]

@HectorsShadow

i think you're right, the date of creation was 9 august 1862 in Baden Baden. It's really a beautiful aria this "nuit paisible et sereine"

[HectorsShadow]

1865? Did Berlioz arrange a new version in 1865?

I thought there were only two versions, one from 1862 and the definitive one, in 1863... and both were created in Baden-Baden, I think.

Am I wrong ?

[precint13]

absolument superbe !