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08/19/2024
Giacomo Meyerbeer: Le Prophète
John Osborn (Jean de Leyde), Elizabeth DeShong (Fidès), Mané Galoyan (Berthe), Edwin Crossley-Mercer (Le Compte d’Oberthal), James Platt (Zacharie), Guilhem Worms (Mathisen), Valerio Contaldo (Jonas), Maxime Melnik, Hugo Santos, David Sánchez (Soldats), Lyon Opera Chorus, Benedict Kearns (chorus director), Maîtrise des Bouches‑du‑Rhône, Samuel Coquard (director), Orchestre des Jeunes de la Méditerranée, London Symphony Orchestra, Sir Mark Elder (conductor)
Live recording: A co-production with Palazzetto Bru Zane and Festival d’Aix‑en‑Provence, Grand Théâtre de Provence, Aix‑en‑Provence, France (July 15, 2023) – 195’35
3 SACDs hybrid London Symphony Orchestra LSO0894 (Distributed by [Integral]) – Book in English, French and German – Libretto in French and English
“There are two pitfalls we must try to avoid. One is successfully preaching and rebelling against any kind of governmental and religious authority until the final scene of the piece. This might perhaps cause difficulties for the performance of the piece in Paris, but it would definitely not be allowed anywhere in Germany and the northern countries.”
Giacomo Meyerbeer to Eugène Scribe
“Oil and Water Don’t Mix”...and the age old proverbial saying holds true for many operas. And in the case of Le Prophète, the commentary is stronger since most of the staging takes place in Münster. With an April 16, 1849 opening, the opera precipitously succeeded behind the February 1848 revolution, ousting the French monarchy. Similar in thought to Les Huguenots (1836), theatrical religious rebelliousness was the center core, yet Le Prophète’s foundation was loosely based on the life of John of Leyden with Anabaptism at its feet.
This recording (fantastically captured in Aix-en-Provence under co‑partnership with Bru Zane) abbreviates (i.e. the “Ouverture” is omitted and portions of the ballet music is missing) the opera’s full score (under four hours), likely due to the monumental financial extensions associated with this grand opéra.
Closely aligned to Italianate opera, John Osborn carries the protagonist banner into the French arena from 2021 and the Bru Zane release of Robert le Diable. The Iowan’s tessitura, on balance, fits comfortably into Meyerbeer’s music with occasional thinness when attempting to reach some of the dramatically high notes. Equally proficient in the Mozartian mode, as reflected in her accented portrayal of Sesto in La clemenza di Tito in 2019, Elizabeth DeShong’s Fidès has a luxuriant penetration, and it is grandly aspiring. She rings forth resilient resonances and a deeply brocaded mezzo richness, especially when matched with Mané Galoyan’s soprano register (Jean’s betrothed). The frictional religious triumvirate of Zacharie, Mathisen and Jonas (James Platt, Guilhem Worms and Valerio Contaldo, respectively), adds a creepy, sinister canvas which continually surfaces within the Meyerbeer motif. Choral blending is of paramount importance inside Meyerbeer’s music. Indeed, the sonorous Lyon Opera Chorus and Maîtrise des Bouches‑du‑Rhône supplement the continuous dramatic folds that keep Le Prophète swimming along with magnetic vigor.
Sir Mark Elder’s command of this extremely complex cadre of singers and orchestral members is pleasantly stable, strongly articulated (in the appropriate places), and it always moves forward with a consistently assorted mix of well‑executed tempos.
Meyerbeer’s music is exceptional and a rare breed; however, those who have the privilege of bathing inside music that inspires, ignites and illuminates, Le Prophète is like a polished jewel that will hold its lustre forever.
Christie Grimstad
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