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Le chef d'orchestre et orchestrateur José Serebrier a réalisé deux enregistrements extraordinaires en compagnie de la soprano Carole Farley: des chants de Delius et de Grieg ! Ces deux CD ont été, étonnement, ignorés par la presse spécialisée... Et pourtant, dans le genre de la mélodie avec orchestre, il s'agit de deux chef d'oeuvres ! Non seulement pour la qualité sublime de la musique, du génie de l'interprétation, mais aussi pour la transparence et la magie de l'enregistrement !
This is a breathlessly stunning album of a world-renowned, major artist - the Metropolitan Opera star soprano Carole Farley, interpreting songs by Grieg, accompanied by the London Symphony Orchestra, conducted by maestro José Serebrier, himself a major figure among conductors and composers, who also orchestrated, splendidly, many of the works in this album. Sung in Norwegian (the booklet provides English translations), these songs are true gems, fabulously presented in this great album (originally released by Dinemic Classics, and re-issued in 2018 by the SOMM Recordings label on their Ariadne series). Known mainly as a composer of orchestral and chamber works, Grieg also left an important legacy of vocal compositions (more than 180 songs, about 60 choral works, and various folk-song arrangements), spread throughout his oeuvre, from Op. 2 to Op. 70. According to Grieg's biographers and researchers, the composer found solace in creating songs during stressful periods, expressing, through his word-setting ability, his ambitions to establish a national music style, on a par with Norwegian poets who were striving to shape and define a national language. Grieg's vision for elevating and refining the form and content of his songs in terms of a national identity, was also fueled by his personal feelings, reflecting some difficult times of turmoil in his own private life. As Grieg himself often stated, many of his songs were written with his "heart's blood". Searching to match the "poet's innermost intentions", as Grieg wrote in a letter, he was intensely concerned with letting "the poem reveal itself". He succeeded in creating extraordinary songs as far as the vocal line is concerned, while he also remained very much the master (like his idol Robert Schumann) of preludes and postludes. It is quite surprising that a great orchestrator such as Grieg did not endeavor to orchestrate but a few of his more than 180 songs. Maestro José Serebrier took great care to orchestrate many of the songs in this album (Serebrier orchestrated 14 songs, three were orchestrated by Grieg himself, and the rest were orchestrated by Ragnar Soderling, Frederick Byl and Max Reger), and in his booklet note, José Serebrier describes his approach to this task as "dictated primarily by the character of the writing". José Serebrier's orchestration of these songs is utterly tasteful and reflects his stated intention "to stay with the spirit as well as the letter of the music, and to use only the instruments dictated by the character of each song". A noted leading interpreter of so many composers, soprano Carole Farley is the sublime exponent for these masterpieces by Grieg. From the very first song in this collection ("Solveig's Cradle Song" from Peer Gynt, scored subtly by Grieg for strings and harp), Carole Farley draws you in, involves you and immerses you in her deeply felt account of Grieg's evocative settings, whether poignant and melancholic, or charming and light-hearted. With an enormously wide range of colors, she engages you and brings you along while artfully building each phrase with intensity but never forcing anything and effortlessly reaching and delivering impressive climaxes. The exquisite care with which Carole Farley approaches her interpretations leaves no minute details overlooked, and even extends to working with a Norwegian language coach. Carole Farley's many astonishing contributions to this album include the first-ever version for female voice and large orchestra of Grieg's short cantata "Mountain Thrall" Op. 32, originally for baritone solo and small orchestra of two horn and strings. In Carole Farley's recorded version, this work becomes a stunning addition to the repertoire for soprano. The balance between the orchestra and the soloist is extremely finely detailed, itself another exquisite element in the execution of the entire album as a treasure of astonishing artistry.
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