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07/28/2024
Jules Massenet: Werther
Tassis Christoyannis (Werther), Véronique Gens (Charlotte), Hélène Carpentier (Sophie), Thomas Dolié (Albert), Matthieu Lécroart (Bailiff), Artavazd Sargsyan (Schmidt), Laurent Deleuil (Johann, Brühlmann), Children’s Choir of the Zoltán Kodály Hungarian Choir School, Borbála Sapszon, Márton Tóth (preparation of the choir), Hungarian National Philharmonic Orchestra, Győrgy Vashegyi (conductor)
Recording: Béla Bartók National Concert Hall, Müpa Budapest, Hungary (February 18‑22, 2023) – 126’03
Bru Zane BZ 1056 (Distributed by Naxos of America) – Book in French and English
“I don’t want it to resemble anything I’ve done before. It will be freed from all the ordinary rules of opera and will be one long dramatic love duet.”
Jules Massenet
...and in a broad wash, the above pensée holds true. Werther, likely Massenet’s most popular work, is dense and filled with poetic thought. And despite its high notoriety in the composer’s anthology, it originally premiered in Vienna on February 16, 1892...ironically deemed too “depressing” for Parisian audiences, alongside the unfortunate demise of a fire that destroyed the Opéra‑Comique.
Though the drame lyrique was originally scored for a tenor in the eponymous role, Massenet, later, granted permission to have the role sung by a baritone. Mattia Battistini, known as “The King of Baritones”, was privileged to first perform in this voice. Utilizing a voix mixte provides a deeper, profound impact on the listener. This Bru Zane recording is awash in sobriety. Tassis Christoyannis’ sizeable dewy drifts of rumination prevail. Furthermore, a supple and dreamy chest voice controls in Act I (ref: “Alors, c’est bien ici”) while during “Pourquoi me réveiller” (Act III, scene III), a sonorous transition ensues without duress. Véronique Gens masterfully molds Charlotte into a seasoned, mature (ironically she’s only 20 years of age) woman. Commanding a deep timbre, she’s an astute lynchpin, the emotional glue holding together Goethe’s dramatic plot. Thomas Dolié provides weighty boundaries to his Albert and re‑emphasizes his unwavering temperament inside Massenet’s music. Interestingly, Hélène Carpentier’s Sophie soprano dialogue is never overly naïve (she’s age 15) in part due to her resonances which lie slightly higher than that of Mlle Gens. Johann and Schmidt (Matthieu Lécroart and Artavazd Sargsyan, respectively) add slight dashes of silky lightness to an otherwise grounded score.
The passage of time and momentum exponentially lifts upward and forward, under Győrgy Vashegyi’s leadership. Musically, Jules Massenet apexes in notes and orchestral colouring...like a rubber band pulling and stretching toward an insurmountable and devastating climax.
Compare this new issue to the 1964 Adès recording with Jésus Etcheverry at the helm. While thick, at times, this new Bru Zane baritone version penetrates and dives more deeply into voice introspections, reminding the listener of the beautiful severity of Werther. Informative and well‑executed from beginning to end...Massenet lovers will relish Bru Zane’s take.
Christie Grimstad
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