Jules Massenet - Don Quichotte (1978)

CD 1 
Acte un: Une place publique.
1 Alza! Alza! Alza! (La foule) 5. 32
2 Quand la femme a vingt ans (Dulcinée) 4.05
3 Dulcinée est certes jolie (Rodriguez) 2.07
4 Allégresse! Allégresse! (La foule) 5.37
5 O Dulcinée!... Ah!!! Vous allez... (Don Quichotte, Sancho) 1.28
6 Sérénade: Quand apparaissent les étoiles (Don Quichotte) 5.16
7 Ah! Ahi C’est vous qui lanciez (Dulcinée) 1.54
8 Vous êtes, mon seigneur (Dulcinée) 5.02
9 Elle m’aime et va me revenir (Don Quichotte) 2.03
Acte deux: Les Moulins.
10 Chanson: C’est vers ton amour (Don Quichotte) 6.59
11 Comment peut-on penser du bien (Sancho) 2.44
12 Regarde!... Quoi? Quoi? (Don Quichotte, Sancho) 3.42
13 Entracte 2.11
Acte trois: Dans la Sierra.
14 C’est ici le chemin (Don Quichotte) 6.00
15 Quand apparaissent les étoiles (Don Quichotte) 3.12
16 Ah! voir un corps long (Les Bandits) 0.41
17 Prière: Seigneur, reçois mon âme (Don Quichotte) 7.26

CD 2 
Acte quatre: Le Patio de la belle Dulcinée
1 Alors, traîtresse, je n’ai plus rien à espérer? (Juan) 2.28
2 Lorsque le temps d’amour a fui (Dulcinée) 2.00
3 Par fortune! Par fortune! (Rodriguez) 2.38
4 Alza! alza! Ne pensons qu’au plaisir d’aimer (Dulcinée) 2.08
5 L’aube bientôt blanchira l’horizon! (Les Invités) 1.21
6 Annonce le grand Don Quichotte (Sancho) 3.58
7 L’aube bientôt blanchira l’horizon (Les Invités) 6.00
8 Oui, je souffre votre tristesse (Dulcinée) 4.35
9 Enfin, te revoilà! (Tous) 2.25
10 Riez, allez, riez du pauvre idéologue (Sancho) 2.08
11 Entracte 2.23
Acte cinq: La Mort de Don Quichotte.
12 O mon maître, o mon grand! (Sancho) 9.56

Bonus Tracks: Jules Massenet - Scènes Alsaciennes
13 Dimanche matin 8.00
14 Au Cabaret 5.40
15 Sous les tilleuls 4.07
16 Dimanche soir 6.17 

Don Quichotte - Nicolai Ghiaurov
Sancho Panza - Gabriel Bacquier
Dulcinée - Régine Crespin
Pedro - Michèle Command
Garcias - Annick Dutertre
Rodriguez - Peyo Garazzi
Juan - Jean-Marie Frémeau

Chorus and Orchestra of Radio Suisse Romande
Kazimierz Kord - conductor

The story of Don Quichotte was beautifully suited to Massenet's talents, strongest in creating exotic color, carefully blending pathos and comedy, and depicting charming sirens who can twist men around their dainty fingers. (This last was allowed in this opera by the transformation of Dulcinée into a seductive courtesan instead of a farm girl whose charms exist solely in Quichotte's eyes.) It has long been a star vehicle for basses and bass-baritones, particularly singing actors such as Chaliapin (for whom the role was created), Christoff, Ghiaurov, Raimondi, and Ramey. (However, Massenet was largely unimpressed by Chaliapin's portrayal; in one famous episode, Chaliapin burst into sobs as he was reading through the death scene, greatly annoying the composer.) The other lead roles are almost as rewarding, even though they tend to be overshadowed; Sancho Panza gets to shine not only in his comic moments but in his passionate defense of his idealistic master's dreams, and Dulcinée's spirited "Spanish" songs are sure crowd-pleasers.

Though he lived for two more years after writing it, Massenet was already ill during its composition, and given his habit of becoming infatuated with his leading ladies (in this case, Lucy Arbell), it seems quite likely that he felt some identification with the lead role.

Even if he had no such feelings, certainly Massenet knew how to go for the audience's heartstrings, and he did so with a precision worthy of a surgeon, particularly in such moments as the death scene and Dulcinée's and Quichotte's final meeting. However, he also gave the character enough dignity that the role is still one of pathos rather than bathos, though an overindulgent performer can easily disrupt that balance. Similarly, while the Spanish flavor is synthetic, and not as memorable as that in Carmen, it is nonetheless infectious. ---Anne Feeney, allmusic.com

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