Franck: Rédemption Orchestre Philharmonique Royal de Liège, Ève-Maud Hubeaux, Vlaams Radio Koor & Hervé Niquet

• César Franck (1822 - 1890):
• 1Rédemption, FWV 52: I. Introduction02:42
• 2Rédemption, FWV 52: II. Chœur terrestre. "Que le jour monte ou s'abaisse"06:05
• 3Rédemption, FWV 52: III. Chœur des anges. "Nous venons du ciel"02:54
• 4Rédemption, FWV 52: IV. Chœurs et air de l'Archange. "Où mènent vos chemins ?" – "Les rois dont vous vantez la gloire"06:33
• 5Rédemption, FWV 52: V. Chœur général. "Devant la loi nouvelle"04:17
• 6Rédemption, FWV 52: VI. Poème Symphonique10:26
• 7Rédemption, FWV 52: VII. Chœur des hommes. "Où sommes-nous ?"04:29
• 8Rédemption, FWV 52: VIII. Chœur des anges. "Nous sommes au ciel"03:47
• 9Rédemption, FWV 52: IX. Air de l'Archange. "Le ot se lève"03:20
• 10Rédemption, FWV 52: X. Chœur général. "Seigneur, oublie l'erreur et la folie"06:53
• Total Runtime51:26

Info for Franck: Rédemption

César Franck’s Rédemption (1873) is a pivotal work. It is an “ode-symphony”, coming at the crossover point between oratorio, opera and symphonic poem – a vein brilliantly exploited by Franck in Psyché (1888) and Les Béatitudes (1891). Rédemption also marks a further progression: with this vast fresco César Franck became “le père Franck”, leading father figure in the new French compositional school, the composer of maturity, creator of Le Chasseur maudit (1883), the Variations symphoniques (1885) and Les Éolides (1885). Here we see the organist becoming a virtuoso in handling grand orchestral or vocal forces and taking his place amongst the major composers of the Symbolist period.

Eve-Maud Hubeaux, mezzo-soprano
Vlaams Radio Koor
Orchestre Philharmonique Royal de Liege
Herve Niquet, conductor

Eve-Maud Hubeaux
was born in Geneva (Switzerland). She had her first contact with music when she was still a child, at the “Institut Jacques Dalcroze”. Then, she was tought piano, first with Daniel Spiegelberg, then with Georgy Popov, from the “Conservatoire de Lausanne”. She completed her piano curriculum diploma end of 2006. Having always been attracted to opera, she started in 2001 her vocal education with Hiroko Kawamichi at the “Conservatoire de Lausanne”.

After having taken part in the revival of Pascal Dusapin's Penthesilea at Opéra national du Rhin Strasbourg and sung successfully her very first Carmen at the Opera House of Klagenfurt (Lorenzo Viotti/Cesare Lievi), Eve-Maud Hubeaux appeared at La Monnaie Brussels as Ursule (Béatrice et Bénédict) under the baton of Jérémie Rhorer and made her successful Paris Opera House debut as Annina (Rosenkavalier, in a production led by Philippe Jordan (May 2016).

Also her 2016/2017 season looks most challenging: with new roles such as Brigitta (Die Tote Stadt) and La Nourrice (Ariane et Barbe-Bleue by Paul Dukas) at Theater Basel (House debut), Andromaca (Ermione, Rossini) and Brangäne (Tristan und Isolde) both at Lyon Opera (including a guest performance of Ermione at Théâtre des Champs Elysées, Paris) and eventually return to Bastille as Margret (Wozzeck).

On the longer term Eve-Maud Hubeaux will appear in Thibault (Don Carlos) Paris Opera Bastille, Dame Ragonde (Le Comte Ory) at Paris Opéra Comique ... besides other role debuts as Eboli (Don Carlos), Baba the Turk (Rake's progress) ... and Armida (Rinaldo).

Booklet for Franck: Rédemption