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La captive

Lisa Larsson

La captive

Price: € 12.95
Format: SACD
Label: Challenge Classics
UPC: 0608917263923
Catnr: CC 72639
Release date: 08 May 2014
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Label
Challenge Classics
UPC
0608917263923
Catalogue number
CC 72639
Release date
08 May 2014

""Her voice is clear and she can switch between volumes""

Luister, 01-10-2014
Album
Artist(s)
Composer(s)
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About the album

Before winning the Prix de Rome in 1830 with the fairly scholastic cantata La mort de Sardanapale, Berlioz had already submitted attempts in the form of La mort d’Orphée (1827), Herminie (1828) and La mort de Cléopâtre (1829). Herminie was outstripped by the submission made by Ross-Despréaux and only came second. The cantata Herminie would survive, however, not least because Berlioz derived the idée fixe from his Symphonie Fantastique. The cantata, to a text by Pierre-Ange Vieillard, was inspired by Tasso’s ‘Gerusalemme liberata’, an epic set during the Crusades. And then, following the failures of Orphée and Herminie, came the third attempt. In that particular year, the jury decided not to award any first prize. It was only the next year that he succeeded in satisfying the jury, when he obediently followed the advice he had been given with the less colourful and much shorter cantata La mort de Sardanapale. Winning the Prix de Rome allowed the victor to spend two years in the Eternal City. Berlioz complained about all manner of things in Italy, from the demise of sacred music to the general ignorance of music in the country. All that I could produce for the Académie was confined to three or four pieces.’ One of these pieces was the song La captive, whose success he could not have predicted.
Innovatief en samenhangend repertoire uitgevoerd door beroemde zangeres
Dit album bevat twee cantates en een lied van Berlioz, uitgevoerd door Lisa Larsson en Het Gelders Orkest onder leiding van Antonello Manacorda.

De composities op dit album zijn geschreven tussen 1828 en 1830. In deze periode probeerde Berlioz om de Prix de Rome te winnen. Het was hem in 1828 bijna gelukt met de cantate Herminie, maar hij moest genoegen nemen met een tweede plaats omdat hij zich niet aan de regels van de commissie had gehouden. Een jaar later probeerde Berlioz het nog eens met de cantate La mort de Cléopâtre. Dat jaar werd er echter geen eerste prijs uitgereikt. Berlioz won de Prix de Rome pas in 1830 met de cantate La mort de Sardanapale.

De winnaar van de Prix de Rome kreeg een subsidie, en was verplicht om de eerste twee jaar in Rome te blijven. Berlioz klaagde over de slechte toestand van de muziek in Italië. Hij kon nauwelijks inspiratie vinden en componeerde maar drie tot vier werken. Een van deze werken is het lied La Captive, dat later erg succesvol is geworden. Het is gebaseerd op het gelijknamige gedicht van Victor Hugo, en gecomponeerd tijdens een bezoek aan Subiaco in 1832.

Lisa Larsson is één van de bekendste zangeressen van dit moment. Op dit album voert ze voor het eerst Frans romantisch repertoire uit, en zingt ze voor de eerste keer in het Frans. De werken op dit album zijn ook live uitgevoerd tijdens vier concerten in Nederland.
Kantaten für Sopran und Orchester von Hector Berlioz mit der schwedischen Sopranistin Lisa Larsson.

Mehrfach bewarb sich Hector Berlioz für den Prix de Rome, bis er ihn endlich 1830 gewann. Die Kantaten, die er in den Jahren zwischen 1827 und 1829 einreichte, gelangten dennoch zu großem Erfolg. Lisa Larsson präsentiert sie hier zwei dieser Kantaten gemeinsam mit Antonello Manacorda und dem Het Gelders Orkest, dem Philharmonischen Orchester Arnhem.
Währen ihrer ersten Engagements an der Züricher Oper arbeitete die schwedische Sopranistin Lisa Larsson mit Franz Welser-Möst und Nikolaus Harnoncourt zusammen. Nach ihrem Debüt unter Riccardo Muti an der Mailänder Scala begann eine steile internationale Karriere, die Lisa Larsson schnell als Mozart-Interpretin etablierte. Sie glänzt weltweit mit ihrer flexiblen Stimme und ihrer enormen künstlerischen Aussagekraft.

Artist(s)

Lisa Larsson

Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the...
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Swedish soprano Lisa Larsson started her career as a flautist and studied singing in Basel. Her first engagement was at the Zurich Opera House, where she performed under a number of conductors including Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala in Milan in ›The Magic Flute‹ under Riccardo Muti, she swiftly developed her international opera career, in particular as a Mozart singer performing parts such as Susanna, Pamina, Zaide, Zerlina, Servilia, Ilia, Fortuna and Ismene; other roles included Marzelline, Anne Trulove, Ännchen, Eurydice, Adele, Adina, Oscar, Xenia, Tytania, Polissena and Morgana. She appeared at renowned European opera houses including the Bavarian State Opera, the Royal Opera House in London, the Teatro La Fenice in Venice, the Royal Danish Opera, the Opéra de Monte-Carlo, the Leipzig Opera, the Grand Théâtre de Genève, the Royal Swedish Opera and the Theater Basel as well as at the Salzburg Festival, the Lucerne Festival, the Glyndebourne Festival and the Festival d'Aix-en-Provence.
Lisa Larsson is also a remarkably versatile concert singer of international renown. In recent years she has constantly expanded her broad repertoire with works by Mahler, Richard Strauss, Brahms, Berlioz, Britten and Stravinsky, and has performed in a number of world premieres of contemporary works. Conductors she has worked with include Claudio Abbado, Sir Colin Davis, Daniel Harding, Adam Fischer, Mikhail Pletnev, David Zinman, Antonello Manacorda, Lawrence Renes, Massimo Zanetti, Louis Langrée, Douglas Boyd, Juanjo Mena, Christian Arming, Andrew Manze, Stefan Solyom, Vassily Sinaisky and Edo de Waart. Lisa Larsson has performed with leading orchestras including the Berlin Philharmonic, the Zurich Tonhalle Orchestra, the Frankfurt Radio Symphony Orchestra, the Munich Philharmonic, the Vienna Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Netherlands Philharmonic, the Royal Stockholm Philharmonic Orchestra, the Hong Kong Philharmonic, the Orquestra Sinfônica do Estado de São Paulo, the NHK Symphony Orchestra and the New Japan Philharmonic.
In the field of baroque music, she has often worked with leading conductors and their orchestras, including Sir John Eliot Gardiner, Sir Roger Norrington, Christopher Hogwood, Frans Brüggen, Andrea Marcon, Emmanuelle Haïm, Ton Koopman, Nathalie Stutzmann, Nicholas McGegan, Paul Goodwin, Martin Haselböck, Gottfried von der Goltz, Trevor Pinnock, Richard Egarr, Fabio Bonizzoni, Jan Willem de Vriend and David Stern.
Highlights of her 2014 | 2015 season include two world premieres of works dedicated to her by Swedish composer Rolf Martinsson: “Ich denke Dein…” for soprano and orchestra, commissioned by the Zurich Tonhalle Orchestra, and “Garden of Devotion” for soprano and string orchestra, commissioned by the Swedish ensemble Musica Vitae.
“Ich denke Dein…” will be first performed by the Zurich Tonhalle Orchestra and conducted by John Storgårds who will also lead the Finnish premiere with the Helsinki Philharmonic Orchestra. The Dutch premiere will be with the Netherlands Philharmonic Orchestra under its chief conductor Marc Albrecht in Amsterdam’s Concertgebouw. More performances are planned for future seasons with the Philharmonia Orchestra, Gothenburg Symphony Orchestra, Orchestra Sinfonica di Milano Giuseppe Verdi, Iceland Symphony Orchestra, Malmö Symphony Orchestra and Helsingborg Symphony Orchestra.
"Garden of Devotion" will be first performed on tour in Sweden by Musica Vitae and conducted by Nathalie Stutzmann. Further performances are scheduled with the Scottish Chamber Orchestra under Olari Elts as well as the Helsingborg Symphony Orchestra under Stefan Solyom. More performances in future seasons are planned with the Swedish Chamber Orchestra, Stuttgart Chamber Orchestra, Staatskapelle Weimar and the Norrköping Symphony Orchestra.
Lisa Larsson will continue her many years of collaboration with Antonello Manacorda in performances of Beethoven’s 9th symphony in the Netherlands as well as Alban Berg’s “Seven Early Songs” and Mahler’s 4th symphony with the BBC Philharmonic. She will also sing the Berg cycle with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra at the Prague Spring Festival and in Liverpool. Performances of Mahler’s 2nd symphony, conducted by Stefan Asbury, are planned for a tour in Holland. Other projects she is looking forward to are two new recital programmes with concerts in Italy together with Andrea Lucchesini and in Switzerland with Roland Pöntinen.
Recent additions to her substantial discography are two Challenge Classics releases: A Haydn album with the Combattimento Consort Amsterdam under the direction of Jan Willem de Vriend as well as Berlioz programme with the Arnhem Philharmonic Orchestra conducted by Antonello Manacorda who is also the conductor of her next CD to be released on the same label in the autumn of 2014 and featuring Mahler’s 4th symphony combined with a selection of “Wunderhorn” songs by Mahler. In spring 2015 she will record Rolf Martinsson’s “Orchestral Songs on Poems by Emily Dickens” with the Royal Stockholm Philharmonic Orchestra under Andrew Manze for BIS Records. Her other recordings include Strauss‘ ›Four Last Songs‹ under Douglas Boyd, Mahler’s 8th symphony under David Zinman, the Mozart operas ›Don Giovanni‹ under Daniel Harding, ›Mitridate‹ under Adam Fischer, ›Il sogno di Scipione‹ under Gottfried von der Goltz, Händel‘s ›Jephta‹ under David Stern as well as numerous Bach Cantatas under Sir John Eliot Gardiner and Ton Koopman. With the latter she also recorded Bach’s Christmas and Easter Oratorio as well as the Magnificat.

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Antonello Manacorda

Antonello Manacorda is currently Artistic Director of Kammerakademie Potsdam, a position he has held since 2010. He has been Principal Conductor of the Het Gelders Orkest in the Netherlands since 2011 – a position he bids farewell to in the 2018-19 season. He was Principal Conductor of I Pomeriggi Musicali in Milan from 2006-10. In addition to his two current positions, Manacorda also has guest conducting relationships which include the Frankfurt Radio Symphony, Helsinki Philharmonic, BBC Philharmonic, Orchestra della Svizzera Italiana and the Tapiola Sinfonietta. He has also worked with a number of other orchestras including the Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra and Sydney Symphony. In January 2015 Antonello Manacorda made his debut at the Salzburg Mozartwoche with the Mozarteumorchester...
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Antonello Manacorda is currently Artistic Director of Kammerakademie Potsdam, a position he has held since 2010. He has been Principal Conductor of the Het Gelders Orkest in the Netherlands since 2011 – a position he bids farewell to in the 2018-19 season. He was Principal Conductor of I Pomeriggi Musicali in Milan from 2006-10.

In addition to his two current positions, Manacorda also has guest conducting relationships which include the Frankfurt Radio Symphony, Helsinki Philharmonic, BBC Philharmonic, Orchestra della Svizzera Italiana and the Tapiola Sinfonietta. He has also worked with a number of other orchestras including the Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra and Sydney Symphony.

In January 2015 Antonello Manacorda made his debut at the Salzburg Mozartwoche with the Mozarteumorchester in a performance of Schubert’s Alfonso und Estrella followed by an appearance at the Maggio Musicale Fiorentino in a programme of Strauss and Stravinsky. In February 2014 he conducted a Beethoven Cycle over four consecutive days in Potsdam with Kammerakademie Potsdam, while in April he conducted a performance of Mendelssohn’s complete Midsummer Night’s Dream which was broadcast live from the Concertgebouw in Amsterdam.

Manacorda is currently engaged in recording a Schubert Symphony cycle for Sony Classical with the Kammerakademie Potsdam. The recordings have been met with high praise, including one being listed in Die Welt’s top ten CDs of 2013. He has also recently recorded a CD of Mahler’s 4th Symphony with Het Gelders Orkest and soprano Lisa Larsson, which was released in November 2014 by Challenge Records.

With a strong experience in opera as well as symphonic repertoire, in December 2014 Manacorda conducted Kammerakademie Potsdam’s Winter Opera production of Mozart’s La Betulia Liberata to great critical acclaim. He also has a long-standing relationship with Teatro La Fenice, and the director Damiano Michieletto, and will be returning to La Fenice in November 2015 to conduct The Magic Flute. Future opera collaborations include La Monnaie, Theater an der Wien, Komische Oper Berlin and Frankfurt Opera.

A founder-member of the Mahler Chamber Orchestra Antonello Manacorda was its vice-president and concertmaster for eight years. A scholarship from De Sono in his home town of Turin allowed him to pursue his goal of becoming a conductor by enabling him to study with Jorma Panula for two years in Helsinki. From 2003-06 he was Artistic Director for chamber music at the Académie Européenne de Musique du Festival d’Aix en Provence.


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Arnhem Philharmonic Orchestra

Motivated by musical ambition, inspired by their public and bonded with their surroundings. That is Het Gelders Orkest! They share their passion for classical music with people from all ages in Gelderland and abroad. They make populair and less populair works and they make music with world famous solists, young top talents and big guest conducters. Their musicians grow and shine in the direction of chef-conducter Antonella Manacorda. He can make as a young 'old soul' the emotions melt with the orchestra like no one else can. Het Gelders Orkest want totouch as many as they can. Beside of organising symphonic concerts they have a bright scala of alternative musical meetings and adventural cross-overs, in the form of kidsconcerts, education-...
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Motivated by musical ambition, inspired by their public and bonded with their surroundings. That is Het Gelders Orkest! They share their passion for classical music with people from all ages in Gelderland and abroad. They make populair and less populair works and they make music with world famous solists, young top talents and big guest conducters. Their musicians grow and shine in the direction of chef-conducter Antonella Manacorda. He can make as a young 'old soul' the emotions melt with the orchestra like no one else can. Het Gelders Orkest want totouch as many as they can. Beside of organising symphonic concerts they have a bright scala of alternative musical meetings and adventural cross-overs, in the form of kidsconcerts, education- and amateurprojects, movies and workshops.
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Composer(s)

Hector Berlioz

Hector Berlioz is perhaps the most romantic of the romantics. His continuously changing moods split the traditional symphony orchestra into countless divisions, and his idealistic longing faded the borders between symphony, opera and oratoria. No wonder that this revolutionary expression gained little appreciation in its own time. The public of that age had barely overcome Beethoven's innovations. Reciprocally, Berlioz resented the audience and its conventions of the prevailing concert practice. In one of his writings, Berlioz dreamed of a Utopian city called Euphonia, in which commerce was banned and the arts stood at the centre of civilisation.  It wasn't until after his death that Berlioz gained the recognition he deserves. The most music lovers will know Berlioz from his Symphonie Fantastique,...
more

Hector Berlioz is perhaps the most romantic of the romantics. His continuously changing moods split the traditional symphony orchestra into countless divisions, and his idealistic longing faded the borders between symphony, opera and oratoria. No wonder that this revolutionary expression gained little appreciation in its own time. The public of that age had barely overcome Beethoven's innovations. Reciprocally, Berlioz resented the audience and its conventions of the prevailing concert practice. In one of his writings, Berlioz dreamed of a Utopian city called Euphonia, in which commerce was banned and the arts stood at the centre of civilisation. It wasn't until after his death that Berlioz gained the recognition he deserves. The most music lovers will know Berlioz from his Symphonie Fantastique, in which he portrayed several opium visions. With this out of control 'bad trip', he tried to win over the famous Shakespeare actress Harriet Smithson. Some other highlights of his career are his epic opera La Damnation de Faust, his symphony Roméo et Juliette, his Requiem and the opera Les Troyens.


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Press

"Her voice is clear and she can switch between volumes"
Luister, 01-10-2014

Of all the spacious SACD productions that have come out of Challange Classic, none I have heard is this luminous.
Gramophone, 01-9-2014

Larsson handles the ehibitionist stuff that Berlioz includes with aplomb
The Guardian, 29-8-2014

Berlioz's dramatic cantatas have enjoyed several successive readings of varying merit, but this is among the very best
Classical CD Choice, 13-8-2014

"A striking disk."
Classical CD Choice (website), 13-8-2014

"A good performance recorded in the Musis Sacrum Arnhem"
, 03-8-2014

"Swedish soprano Lisa Larsson takes a leaf out of the composer's book, giving performances that are focused on dramatic engagement, even when they result in moments of vocal stress and strain that others might shy away from."
The Irish Times, 25-7-2014

A first-rate CD production with Swedish soprano Lisa Larsson’s great, flexible and expressive voice. She sings with intensity in the dramatic scenes and shows moving intimacy in other passages, notably in ‘La mort de Cléopâtre’. The accompanying orchestra performs in an equally exciting manner, so that we only can recommend this recording which gives Berlioz his genuine French colors.
Pizzicato, 26-6-2014

"A first-rate CD production with Swedish soprano Lisa Larsson’s great, flexible and expressive voice"
Pizzicato, 24-6-2014

Larsson has a blessed voice: Well focused, full of color and she leans on a resilient legato.
De Volkskrant, 28-5-2014

Negatief 
Trouw, 20-5-2014

We can be proud of the very committed and well playing accompaniments of the Gelderse Orkest. They finally have the oppurtunity to manifest their self for a larger audience. That is precisely why the program could have take a bit longer
Musicalifeiten, 08-5-2014

"This is a fine addition to the Berlioz discography."
Gramophone

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