From the archives
Andrew Mcgregor delves into a celebratory collection taking in the multifaceted music of Charles Gounod
Debussy’s and Bernstein’s centenaries have rather overshadowed another major anniversary – until now. The Gounod Edition (Warner Classics 9029564887; 15 CDS) presents a compact, economic, one-stop-shop for anyone curious enough about Charles Gounod to venture beyond his opera Faust and a handful of songs. Of course Faust comes first, in George Prêtre’s 1978 recording with Domingo and Freni as Faust and Marguerite, and Ghiaurov as Mephistopheles. It’s a classic for many musical reasons, although purists decry the lack of French voices – sweetness and purity rather than the ringing power of Domingo’s Italianate tenor; exaggerated malevolence from Ghiaurov in place of devilish charm. An extra CD offers highlights from Margarethe, the German version of Faust in Patané’s recording with Nicolai Gedda and Kurt Moll. For Roméo et Juliette they’ve chosen Michel Plasson’s 1983 Toulouse recording with Kraus and Malfitano; well sung and shaped, but not as beautifully intimate as Plasson’s more recent recording. Plasson conducts Mireille, which deserves rediscovery: a tale of peasant life in Provence filled with charming melodies and warmth, and a well-matched cast led by Freni. Plus, there’s a small collection of selected arias from Gounod’s other operas. Gounod was also a wonderful composer of mélodies, well-served here by José van Dam, Barbara Hendricks, José Carreras and Dietrich Fischerdieskau; best of all, Pierre Bernac with Poulenc in a single song, and Gérard Souzay with Dalton Baldwin in a decent sequence.
But Gounod’s heart, and possibly his greatest musical talent lay in his liturgical works. The Messe Chorale is rooted in Renaissance polyphony, well sung by the Ensemble Vocal de Lausanne for Michel Corboz; the more theatrical Messe solenelle de Saint Cécile appears in Jean-claude Hartemann’s 1963 recording; and, best of all, the huge choral trilogy Mors et Vita, encompassing a complete Requiem. Michel Plasson’s cast comes straight from Gounod in the opera house, emphasising the composer’s debt to Verdi.