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Berlioz: Les nuits d ete (SACD/CD - plays on all CD players) Hybrid SACD, SACD


Price: £18.40 & FREE Delivery in the UK. Details
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Frequently Bought Together

Berlioz: Les nuits d ete (SACD/CD - plays on all CD players) + Berlioz: Symphonie Fantastique
Price For Both: £33.68

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Product details

  • Conductor: Robin Ticciati
  • Composer: Berlioz
  • Audio CD (6 May 2013)
  • Please Note: Requires SACD-compatible hardware
  • Number of Discs: 1
  • Format: Hybrid SACD, SACD
  • Label: Linn
  • ASIN: B009G7WU74
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 119,238 in Music (See Top 100 in Music)

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Samples
Song Title Time Price
Listen  1. Les nuits d'ete, Op. 7 - Villanelle 2:18Album Only
Listen  2. Les nuits d'ete, Op. 7 - Le spectre de la rose 6:12Album Only
Listen  3. Les nuits d'ete, Op. 7 - Sur les lagunes 5:50Album Only
Listen  4. Les nuits d'ete, Op. 7 - Absence 4:45Album Only
Listen  5. Les nuits d'ete, Op. 7 - Au cimetiere 5:32Album Only
Listen  6. Les nuits d'ete, Op. 7 - L'ile inconnue 4:03Album Only
Listen  7. Romeo and Juliette - Scene d'amour16:58Album Only
Listen  8. La Mort de Cleopatre - Scene lyrique 9:57Album Only
Listen  9. La Mort de Cleopatre - Meditation10:07Album Only

Product Description

Product Description

Robin Ticciati cements his reputation as an outstanding Berliozian with his latest recording,Berlioz:Les nuits d été,which includes excerpts from Roméo & Juliette and La Mort de Cléopâtre.A pupil of Sir Simon Rattle and the great Berliozian Sir Colin Davis,Robin's reputation as one of this generations best conductors was assured when he was announced as the next music director of Glyndebourne,taking over from Vladimir Jurowski in 2014.Named one of the top ten young conductors on the verge of greatness by Gramophone Magazine,Robin delivers fresh insights and vivid colours into this luminous work.The recording features Kathleen Ferrier prize-winning mezzo-soprano Karen Cargill,who has sung at the Metropolitan Opera,New York and won acclaim as Cleopatra,a role she reprises here...the core of this stunning concert was a shattering,heart-rending performance by Cargill in awesome voice.(The Herald).The works of Berlioz have featured prominently in Ticciati's programmes with the Scottish Chamber Orchestra since he became their principal conductor in 2009.

Review

Berlioz played with chamber forces? The combination already worked well in last year's recording of the Symphonie fantastique with Robin Ticciati and the Scottish Chamber Orchestra.Now lightning has struck twice.The Berlioz repertoire chosen here by the SCO's principal conductor may be on a smaller scale we get two vocal jewels,Les Nuits d été and La mort de Cléopâtre,plus the orchestral love scene from the dramatic symphony Roméo et Juliette.But the virtues that lit up that Fantastique remain:piercing clarity of colour and texture;heightened drama;increased tenderness and intimacy.This is Berlioz up close and personal,and wonderful to behold.Berlioz performed with love,too. Over four seasons with the orchestra,Ticciati has formed a marked rapport both with composer and players;I'd buy this CD for the woodwinds phrasings and colours alone,and they occupy just one part of Berlioz's startling kaleidoscope.Luckily for his upcoming job as Glyndebourne Festival's music director,the 30 year-old is equally sensitive to the human voice,and he guides his soloist wisely.The Scottish mezzo soprano Karen Cargill,one of the orchestra's past Artists in Association,is another reason to buy this disc.Dark,mobile,richly emotional,her voice finds a near-perfect showcase in the dramatic plaints of the Cleopatra cantata,Berlioz's bid for the 1829 Prix de Rome,and the subtler sorrows of the later Nuits d été.The close of Le spectre de la rose in that cycle so sad,so fragile makes you clutch at your heart.There are multiple other expressive beauties in these thoroughly well-prepared yet fresh performances,delivered with an accent just a few drops short of the authentic French perfume.Inbetween the vocal pieces comes the remarkable Roméo et Juliette love scene,music of the most passionate yearning,given extra lustre by the orchestra's intimate forces,sympathetically captured throughout in the recording produced and engineered by Philip Hobbs.The good news is that the SCO has now extended Ticciati's contract until at least 2018.Cue for more Berlioz,I'd say..Geoff Brown - 3/5/13 --The Times

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 15 Jan 2014
Format: Audio CD Verified Purchase
I have been listening recently to a lot of versions of this, my favourite song cycle by a favourite composer. I seem to be in a minority - although by no means alone - in not much enjoying the classic recording by soprano Régine Crespin, whose voice I find grainy and even scratchy, whereas Scottish mezzo-soprano Karen Cargill's delivery is as smooth and smoky as a Laphroaig single malt. She is the most subtle of artists, and whereas I found comparably the voiced Susan Graham a little too under-stated in her interpretation, I hear a pulsing passion and intensity in Cargill's interpretation. Key moments, such as the concluding lament of the wordless "Ah!" in a key song like "Sur les lagunes", are delivered with great intensity and a boundless, yearning melancholy. She can plumb the depths for "comme un linceul" in the same song but also lighten her voice credibly for "Villanelle". The flickering vibrato is a delight - never a wobble or a slide - and as a listener, one never experiences a moment's uneasiness about her ability to encompass the tessitura or the expressive range of these immensely varied songs. This is an account to stand beside those by Janet Baker, Frederica Von Stade, Lorraine Hunt Lieberson and Jessye Norman - as you might have gathered, I prefer my "Nuits d'été" with the unity conferred upon the songs when sung by a great mezzo-soprano or a soprano falcon. Cargill's French sounds flawless to me; it is certainly very confident and idiomatic.

About young Robin Ticciati's direction I am marginally less enthused, not because I object to anything about his tempi, phrasing or balances but because he is so evidently a convert to the kind of period practice which dogmatically eschews vibrato in his strings.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
2 of 2 people found the following review helpful
A lovely, velvety mezzo in a favourite song cycle - and extras 15 Jan 2014
By Ralph Moore - Published on Amazon.com
Format: Audio CD
I have been listening recently to a lot of versions of this, my favourite song cycle by a favourite composer. I seem to be in a minority - although by no means alone - in not much enjoying the classic recording by soprano Régine Crespin, whose voice I find grainy and even scratchy, whereas Scottish mezzo-soprano Karen Cargill's delivery is as smooth and smoky as a Laphroaig single malt. She is the most subtle of artists, and whereas I found comparably the voiced Susan Graham a little too under-stated in her interpretation, I hear a pulsing passion and intensity in Cargill's interpretation. Key moments, such as the concluding lament of the wordless "Ah!" in a key song like "Sur les lagunes", are delivered with great intensity and a boundless, yearning melancholy. She can plumb the depths for "comme un linceul" in the same song but also lighten her voice credibly for "Villanelle". The flickering vibrato is a delight - never a wobble or a slide - and as a listener, one never experiences a moment's uneasiness about her ability to encompass the tessitura or the expressive range of these immensely varied songs. This is an account to stand beside those by Janet Baker, Frederica Von Stade, Lorraine Hunt Lieberson and Jessye Norman - as you might have gathered, I prefer my "Nuits d'été" with the unity conferred upon the songs when sung by a great mezzo-soprano or a soprano falcon. Cargill's French sounds flawless to me; it is certainly very confident and idiomatic.

About young Robin Ticciati's direction I am marginally less enthused, not because I object to anything about his tempi, phrasing or balances but because he is so evidently a convert to the kind of period practice which dogmatically eschews vibrato in his strings. This persuasion produced a less than enthralling account of a Mendelssohn Piano Concerto I heard him conduct with the Scottish Chamber Orchestra at the Proms last summer and I am by no means always persuaded that it does justice to the gorgeous love music from "Roméo et Juliette", which is otherwise sensitively, even magically played.

"La mort de Cléopâtre" is one of my desert island Berlioz compositions and it would take a lot to shake my joint loyalties to Baker's and Norman's riveting versions. Having said that, I thoroughly admire and enjoy Cargill's searingly acted, vocally resplendent account. At times the, slight whine in the SCO's violins accentuate the bitter-sweet immediacy of the queen's reminiscences and the desperate pathos of her plight, yet at times the orchestra sounds under-sized and under-nourished for this epic monologue.

Nonetheless, this is the finest Berlioz singing I have heard for many a year, in startlingly fine sound and offering a programme irresistible to lovers of great singing and the greatest French Romantic composer.
2 of 2 people found the following review helpful
A Glorious Rival to Regine Crespin's Recording 16 Sep 2013
By Robert B. Lamm - Published on Amazon.com
Until I heard this recording, Régine Crespin's recording of Les Nuits d'Été was the be-all and end-all; it was simply impossible for me to imagine anything better. Well, Mme. Crespin will need to make room on her pedestal, because Karen Cargill is simply wonderful.

I first noticed Ms. Cargill when I watched the Met's broadcast of Les Troyens. For my money, she was at least as good as - if not better than - Susan Graham, so I decided to see what else she'd done and found this and a few other recordings. I don't know if I can say I discovered her, but let's just say I'm so glad I found her. She has a wonderfully warm and expressive voice; it can be delicate or huge, and she handles the transitions between the two, as well as the French accent and elisions, spectacularly well. And because she's a mezzo, she can handle the lower notes arguably better than Crespin.

I'd have loved to have Ravel's Scheherazade on this recording, but in lieu of direct competition with Crespin's, Ms. Cargill has opted for an all-Berlioz recording with the "La Mort de Cléopâtre, and it's simply amazing. Maybe she'll do the Ravel on another recording at some point - one can only hope.

Similarly, Ansermet's conducting of L'Orchestre de la Suisse Romand is easily matched by Robin Tocciati and the Scottish Chamber Orchestra. I'm not familiar with either, but I can't wait to hear more.

Finally, the sound quality of this recording is extraordinary - the extra bucks you pay for an SACD are well worth it.

Wow!
Okay 22 Aug 2014
By J. Snowden - Published on Amazon.com
Format: Audio CD
I've heard about 20 versions of this work over 4 decades and this effort is ok but for the very best you have to go to Brigitte Balleys and Lorraine Hunt Lieberson both of whom bring high poetry and a sense of occasion to their performances. The Balleys recording is unspeakably beautiful. If it's not perfect then nothing is. The Hunt Lieberson is a public performance with mediocre sound but one cannot resist her singing anyway. Like Von Otter she knows how to get inside a song and draw you in. If you love this music then you must have both recordings, plus the classy Regine Crespin issue. And throw in Cargill for her "La Mort de Cleopatre" which is gorgeously sung.
A great recording ! 19 Dec 2013
By Helio Mattar - Published on Amazon.com
Format: Audio CD Verified Purchase
Les Nuits D'Éte is one of my favourite orchestral song cycles. I have several recordings and I strongly recommend this one !
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