Search - Boieldieu, Gedda, Spoorenberg :: La Dame Blanche

Good, but dialogue-free performance

L. E. Cantrell | Vancouver, British Columbia Canada | 10/13/2004

(4 out of 5 stars)

"Source: Live performance, Hilversum, Netherlands, 28 November, 1964.



Sound: Fair to good mono. The audience is generally quiet with only a few coughs and a couple of instances of misplaced applause.



Format: Disc 1, Act I and part of Act II, 11 tracks, 0h:56m. Disc 2, Act II (conclusion) and Act III, 7 tracks, 0h:54m.



Performing version: La dame blanche is widely regarded as the first true example of the French opera comique. However, no dialogue appears on this set.



Documentation: No libretto. [A French-only libretto is currently available on the web.] Brief summary of the plot by Act. Track listings show French track names and identify the characters singing, but do not show timings. Two paragraphs on Boieldieu. Nothing on the cast, conductor or circumstances of the recording.



"La dame blanche" was a part of world-wide craze for the works of Sir Walter Scott, of which the most important surviving operatic example is "Lucia di Lammermoor." The plot of "La dame blanche" seems to have been carved out of no less than three of Scott's novels. It involves a moldering castle, a family ghost (or maybe a Scottish version of a banshee), a misplaced heir, a lost treasure, a treacherous steward, a superstitious peasant, a loyal servant and a plucky young girl -- in short, all the usual stuff.



Francois-Adrien Boieldieu (1775-1834) was the creator of the French opera comique form and the immensely popular composer of no less than 38 operas. On the side, he was a professor of music at the Paris Conservatory, when he wasn't off in Russia as director of French opera for the Czar, that is. So great was his stature that when Bizet got around to writing his great opera comique, he specifically designed "Carmen" to avoid the example set by "La dame blanche."



The star of this set is the conductor, Jean Fournet. Fournet was renowned for the French repertory in the years straddling World War II. (He may be heard in a rousing performance of "Samson et Dalila" with John Vickers and Oralia Dominguez, also on Opera d'Oro.) His is the only handling of this opera that I have ever heard, but it certainly sounds convincing to me.



The best-known member of the cast is Nicolai Gedda. His part is one of those typically French, crag-leaping, brilliant things for a lyric tenor. His voice seems to me to be a little thicker than usual, but he is quite impressive for the most part. There are one or two spots that sounded a trifle odd, but I am not sure whether to attribute that to the singer or the composer. A glance at the score might prove interesting.



The Dutch diva, Erna Spoorenberg, who died in March of this year, sounds fine -- singing well enough to make me regret that she did not pursue a more international career.



The other cast members and the chorus are up to the tasks set for them, but are not especially memorable.





"La dame blanche" is a sprightly little thing. Every number seems to have a built-in smile. A little of that goes a long way -- too long in this case, considering the melodrama inherent in the plot. I found myself wishing for some nice, mean-spirited gloom from "Der Freischutz," just to balance things out.



This is a good performance of a B- or even C-list opera. I think it's worth four stars.

"

Melodic and sprightly opera, well performed

R. Broadhead | Southwestern USA | 08/08/2008

(5 out of 5 stars)

"As the other reveiwer has stated,La Dame Blanche by Francois Adrien Boieldieu (1775-1834) is a sprightly opera, first performed in 1825. I'll give this recording another star (5) because to me the music is quite enjoyable and the sound is good mono, quite good for most of the opera. During the first 15 or 20 minutes, some of the soloists, especially Mr. Gedda, are a bit too closely miked. As a result, they come booming out of the speakers when they start singing. After a short way into the opera however, the problem was fixed and they are good in balance with the orchestra and the chorus. Fidelity and contrast in the recorded music is good and one hardly notices that this is a mono, and not a stereo, recording. Ahh, those Dutch sound engineers of the 1960's.....



The soloists on this reording are very enjoyable. Nicolai Gedda as George Brown is no secret to opera buffs and he performs some difficult music very well here. The little known Erna Spoonberg makes a superb Anna with a rich voice that is always in control. Although Sofia Van Sante (singing the role of Jenny)is not one of topmost sopranos in the world, she still sings her very significant part well and is enjoyable to listen to. The other members of the cast all sing well. Of special enjoyment to me was Guus Hoekman as Gaveston - his deep voice is more than slightly wooly (OK it is very wooly in spots), but he really does sing his part well - the way he takes up the French libretto with a tempo that fits the music is exemplary and most enjoyable - the man knew how to sing and play his part to the utmost without being overly dramatic -perfect for the part.



The Orchestra of Radio Hilversum under the direction of Jean Fournet also does quite well and delivers a nice light "French" sound as does the Chorus of Radio Hilversum.



The music itself is light, spritely and enjoyable throughout. Its just the thing when one wants some light, lyrical entertainment and it is easy to understand why La Dame Blanche was so popular in its day. Despite its light nature throughout, there is enough variation in tempo and texture so that the music does not become boring or old. With good music, overall very good sound, and an excellent performance this recording will be enjoyable for those who want a bit lighter opera or those who want to explore good opera and are looking for something from the early-mid 1800's that is not Donizetti or Rossini."