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Berlioz: La Damnation De Faust

John Nelson Format: Audio CD
4.7 4.7 out of 5 stars 67 ratings
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Track Listings

Disc: 1

1 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Le Vieil Hiver a Fait Place Au Printemps" (Faust)
2 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Les Bergers Laissent Leurs Troupeaux" (Chorus, Faust)
3 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Mais D'un Éclat Guerrier" (Faust)
4 La Damnation de Faust, Op. 24, H. 111, Pt. 1: Marche Hongroise
5 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Sans Regrets J'ai Quitté Les Riantes Campagnes" (Faust)
6 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Christ Vient de Ressusciter !" (Chorus, Faust)
7 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Hélas ! Doux Chants Du Ciel" (Faust)
8 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Ô Pure Émotion !" (Méphistophélès, Faust)
9 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "À Boire Encor !... Oh ! Qu'il Fait Bon" (Chorus, Méphistophélès, Brander)
10 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Certain Rat, Dans Une Cuisine" (Brander, Chorus, Méphistophélès)
11 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Amen" (Brander, Chorus)
12 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Vrai Dieu, Messieurs" (Méphistophélès, Chorus)
13 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Une Puce Gentille" (Méphistophélès, Chorus)
14 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Assez ! Fuyons Ces Lieux" (Faust, Méphistophélès)
15 La Damnation de Faust, Op. 24, H. 111, Pt. 1: "Voici Des Roses" (Méphistophélès)
16 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Dors, Dors, Heureux Faust" (Chorus, Méphistophélès, Faust)
17 La Damnation de Faust, Op. 24, H. 111, Pt. 2: Ballet Des Sylphes
18 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Margarita !" (Faust, Méphistophélès)
19 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Villes Entourées" (Chorus)
20 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Jam Nox Stellata Velamina Pandit" (Chorus)
21 La Damnation de Faust, Op. 24, H. 111, Pt. 2: "Villes Entourées... Jam Nox Stellata" (Chorus, Faust, Méphistophélès)

Disc: 2

1 La Damnation de Faust, Op. 24, H. 111, Pt. 3: Tambours Et Trompettes Sonnant la Retraite
2 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Merci, Doux Crépuscule !" (Faust)
3 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Je L'entends !" (Méphistophélès, Faust)
4 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Que L'air Est Étouffant !" (Marguerite)
5 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Autrefois Un Roi de Thulé" (Marguerite)
6 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Esprits Des Flammes Inconstantes" (Méphistophélès)
7 La Damnation de Faust, Op. 24, H. 111, Pt. 3: Menuet Des Follets
8 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Maintenant, Chantons À Cette Belle" (Méphistophélès)
9 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Devant la Maison" (Méphistophélès, Chorus)
10 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Grand Dieu !" (Marguerite)
11 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Ange Adoré" (Faust, Marguerite)
12 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Allons, Il Est Trop Tard !" (Méphistophélès, Marguerite, Faust, Chorus)
13 La Damnation de Faust, Op. 24, H. 111, Pt. 3: "Je Connais Donc Enfin" (Faust, Méphistophélès, Marguerite, Chorus)
14 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "D'amour L'ardente Flamme" (Marguerite)
15 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "Au Son Des Trompettes" (Chorus, Marguerite)
16 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "Nature Immense" (Faust)
17 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "À la Voûte Azurée" (Méphistophélès, Faust)
18 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "Dans Mon Cur Retentit Sa Voix Désespérée" (Faust, Chorus, Méphistophélès)
19 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "Ha ! Irimiru Karabrao !" (Chorus, Méphistophélès)
20 La Damnation de Faust, Op. 24, H. 111, Pt. 4: "Tradioun Marexil Fir Trudinxé Burrudixé !" (Chorus)
21 La Damnation de Faust, Op. 24, H. 111, Epilogue: "Alors L'enfer Se Tut" (Chorus)
22 La Damnation de Faust, Op. 24, H. 111, Epilogue: "Laus ! Laus ! Hosanna ! Hosanna !" (Chorus, Une Voix)
23 La Damnation de Faust, Op. 24, H. 111, Epilogue: "Remonte Au Ciel, Âme Naïve" (Chorus)
24 La Damnation de Faust, Op. 24, H. 111, Epilogue: "Viens, Les Vierges Divines" (Chorus, Une Voix)

Editorial Reviews

2019 release. "The most dramatic piece that Berlioz ever wrote," is how conductor John Nelson describes La Damnation de Faust. The composer designated this thrilling hybrid of oratorio and opera a 'légende dramatique'. Following in the triumphant footsteps of Les Troyens, also recorded at the Auditorium Erasme in Strasbourg, this performance reunites Nelson and the Orchestre Philharmonique de Strasbourg with singers Michael Spyres, Joyce DiDonato and Nicolas Courjal. This recording was made in the Auditorium Erasme in Strasbourg in April 2019, two years after Nelson, the Orchestre Philharmonique de Strasbourg and a superb cast including Joyce DiDonato, Michael Spyres and Nicolas Courjal brought Berlioz's Les Troyens to life in the same venue. The associated Erato recording of the huge two-part opera has gone on to win unalloyed praise and multiple major prizes. As the New York Times wrote: "Berlioz's epic opera has rarely been given such luxury treatment as in this magnificent live recording from France."

Product details

  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.24 x 7.13 x 0.47 inches; 7.97 ounces
  • Manufacturer ‏ : ‎ Erato
  • Original Release Date ‏ : ‎ 2019
  • Date First Available ‏ : ‎ October 11, 2019
  • Label ‏ : ‎ Erato
  • ASIN ‏ : ‎ B07XR974Q7
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.7 4.7 out of 5 stars 67 ratings

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4.7 out of 5 stars
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Top reviews from the United States

  • Bruce A. Mcdonald
    5.0 out of 5 stars Superb performance of a difficult work
    Reviewed in the United States on February 21, 2020
    Verified Purchase
    This work is a challenging one for the tenor---2 High C sharps! The tenor here manages them very well, and the performance is excellent. Go for it!
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  • Fanfare Archive
    4.0 out of 5 stars A great Faust and Marguerite carry the day
    Reviewed in the United States on February 15, 2020
    Huntley Dent, Fanfare magazine

    The best thing about the acclaimed Les Troyens that swept up awards in 2017 were the two leads, the Énée of Michael Spyres and the Didon of Joyce DiDonato. They return, once again under the veteran conductor John Nelson, for this new Damnation of Faust from Strasbourg. Berlioz’s masterpiece has been internationalized for decades, but it is amusing to see three Americans headlining the performance. On the current scene Spyres and DiDonato would be very difficult to surpass. In Faust’s opening solo Spyres sings with stylish ease, a bright but rounded tone, and no fear of the part’s high tessitura. He is better suited vocally to this role—in fact, ideally suited—than he was for Énée, which rightfully belongs to a dramatic tenor like Ben Heppner.
    Spyres makes of Faust a riveting operatic character, reaching for emotional expression everywhere. The beauty of the voice is also a source of great pleasure. Recently Simon Rattle and the London Symphony released an excellent Damnation of Faust in concert (LSO Live), in which Bryan Hymel, who owes his fame in large part to undertaking the most difficult roles in 19th-century French grand opera, reversed the equation—his dramatic tenor was weighty for Faust. By a considerable margin Spyres has the better time of it. Hymel’s voice has an edge, and his singing sounds effortful and a little coarse by comparison.
    In advance, I thought that DiDonato didn’t have the warm timbre I associate with Marguerite’s innocence and passionate heart. But she softens and rounds her tone for “D’amour l’ardente flamme,” which is sung with great beauty and musicianship. Rattle has the Scottish mezzo Karen Cargill, who sounds a bit mature because of the darker tone of her voice, and artistically she’s not in DiDonato’s league. I am not easily won over by this singer’s fast vibrato, and she doesn’t attempt to sound girlish, yet you are aware of DiDonato’s stature at every turn. She’s still the regally tragic Didon that she was in Troyens, and this pays off in dramatic impact.
    I’ve devoted space to the excellence of these two singers because there is a fairly steep falling off elsewhere. The LSO account had the benefit of Rattle’s superlative conducting and the execution of a world-class orchestra. John Nelson is hit-and-miss here and never inspired. He under-inflects signature parts like the Rákóczy March and the Ride to the Abyss, in which Faust has no more to fear than if he was on the way to the supermarket. One gets the impression of a serviceably led reading most of the time, but this impression is partly due to the great conductors who have led Faust on disc in the past. The Orchestre Philharmonique de Strasbourg plays with focused commitment, but it is not an outstanding ensemble. The best one can say, which isn’t small potatoes, is that it makes Berlioz’s orchestral part sound authentically French.
    Between them Spyres and DiDonato raise the whole performance to a level that is totally compelling every moment they are singing. It would be enough to overcome all other objections if they were matched by a charismatic Méphistophélès. French bass Nicolas Courjal has half the role down perfectly; he’s suave and insinuating, two qualities that big-name singers often miss in their attempt to sound diabolical and powerful. That’s the side of the role Courjal lacks. The voice is fairly light, on the baritonal side, and there’s not enough stage presence for a first-rate villain. Still, the singer’s French is idiomatic, which is a pleasure, even if it makes Spyres and DiDonato’s accents sound merely good.
    Since I was an outlier in not finding Spyres’s Énée great, it’s gratifying to report that his Faust is—one has to go back to Nicolai Gedda and Léopold Simoneau in their primes to hear his equal. DiDonato occupies the same top tier, and if their Méphistophélès is low wattage in the diablerie department, he’s still good enough to make this a firmly recommendable recording. Rattle’s cast isn’t at the same level, and regrettably, great conducting doesn’t a great La damnation de Faust make, not on its own.
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  • Conductor
    2.0 out of 5 stars Mediocre performance
    Reviewed in the United States on August 29, 2023
    Let's start by saying that I had approached this recording with a positive bias as I absolutely love John Nelson's Beatrice et Benedict, I find Spyres' voice beautiful, and I appreciate DiDonato's voice as well.

    Unfortunately, this recording fell very short of my expectations. Nelson's conducting is rather lethargic at times (where is the fire in the Rakoczy March?), DiDonato does an average job, not bad, but not memorable, and Courjal is abysmal of vocal mediocrity (the wobble is already around the corner, and I can bet his career is almost at its end). Spyres is the only one who is really worth listening to, but there have been better interpretations in the past. Without going back to Trevi or Jouatte (with Coppola, Fournet or Wolff conducting), there is an unforgettable performance by Verreau with Markevitch. In Markevitch's recording, you'll get terrific conducting, a great tenor, a great bass (Michel Roux) and a good soprano (Rubio). It's definitely the best available version on CD with decent sound. 2nd would be Davis' recording with Gedda (amazing squillo but with strange French pronunciation), Veasey and Bastin. Good overall but not transcendental. 3rd would be maybe Solti's version with a magnificent Van Dam as Mephisto, a charming Von Stade as Marguerite, but Riegel is a poor Faust, that's very unfortunate. Many other versions (Nagano, Dutoit) have other caveats and are never ideal.

    By far, Markevitch is the best choice, and this version by Nelson is rather mediocre. The big difference is the amount of marketing involved, and how Erato/Warner Classics are selling you this as the greatest version of all times, it's laughable. Don't be fooled.
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Top reviews from other countries

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  • Jon
    5.0 out of 5 stars Una grabación actual de uno de los más célebres trabajos de Berlioz
    Reviewed in Spain on April 29, 2023
    Verified Purchase
    La Condenación de Fausto es quizás la obra más famosa de Berlioz, un extraño híbrido entre ópera y oratorio basado en el Fausto de Goethe. Realmente no tengo nada que objetar con respecto a esta grabación, ya que me gusta mucho el elenco de cantantes escogidos, así como la labor del director. Se incluye libreto y un dvd con extractos del concierto que se hizo en Estrasburgo en 2019
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  • Uwe v.Sadowsky
    4.0 out of 5 stars Toll
    Reviewed in Germany on March 14, 2022
    Verified Purchase
    Eine wirklich tolle Aufnahme
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  • Amazon Customer
    5.0 out of 5 stars highly recommended
    Reviewed in the United Kingdom on May 24, 2020
    Verified Purchase
    The opera or rather "cantate dramatique" of great emotionality presented exquisitely by the performers, choir(!), and orchestra under John Nelson. The artists of the highest rank, and superb indeed. But...I can't forget the old recording with Dame Janet Baker, Nicolai Gedda, Gabriel Bacquier, and Orchestre de Paris under Georges Pretre. Sentiments, I suppose.
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  • jean-marie lambert
    5.0 out of 5 stars "O pure émotion..."
    Reviewed in France on November 23, 2019
    Verified Purchase
    Après la brillante réussite des "Troyens",John Nelson enregistre en avril dernier "la damnation de Faust",toujours à Strasbourg.Ce chef-d'oeuvre si difficile et exigeant a-t-il trouvé ici une interprétation qui fera date?
    Répondons tout de suite par l'affirmative,malgré quelques réserves.
    La direction de John Nelson est parfaite:ce grand défenseur de l'oeuvre de Berlioz trouve les tempi justes dans cette oeuvre si complexe; à titre d'exemple,le duo Faust-Marguerite a rarement été dirigé ainsi...de même que l'irruption de Mephistophélès.Equilibrée,sa vision de l'oeuvre rend justice à toutes ses parties...et il donne à l'amen du rat un humour que seul Markevitch avait osé avant lui.L'orchestre philharmonique de Strasbourg se surpasse,servi par une prise de son exemplaire.Cela nous vaut une course à l'abîme vraiment démoniaque.
    L'indispensable Spyres est toujours engagé et intéressant,et l'on lui pardonnera quelques difficultés dans l'aigu.Le si difficile "Nature immense..."est magnifique.DiDonato est une splendide et jeune Marguerite,capable de fougue dans les duos,et de poésie dans les deux airs si merveilleux que Berlioz lui a offerts ("d'amour l'ardente flamme" est anthologique!) Duhamel est un Wagner convenable,et Courjal en fait vraiment beaucoup (trop?) en Méphisto,et frôle l'histrionisme.Il empéche ce disque d'être "version de référence"...mais y en a-t-il une,en fait?Nelson,Spyres et DiDonato rendent indispensable cette interprétation a la fois stylée et très vivante ,qui se situe désormais au sommet aux côtés de Monteux,Markevitch,Davis I,Luisi et Chung.Cette oeuvre géniale justifie bien plusieurs approches et autant de visions.
    Présentation parfaite: texte de C.Wasselin,livret de l'oeuvre,dvd d'extraits (le duo! "D'amour..."!)
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  • C. BROWN
    5.0 out of 5 stars Great performance of an almost-masterpiece.
    Reviewed in the United Kingdom on January 4, 2020
    Verified Purchase
    Magnificent! Not quite as good as the Trojans from the same team, but that’s not surprising because the latter was one of the discs of the 2010s.
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