Album info



Label: Cypres

Genre: Classical

Subgenre: Vocal

Album including Album cover


Formats & Prices

FormatPriceIn CartBuy
FLAC 48 $ 12.80
  • Philippe Boesmans (b. 1936): Pinocchio:
  • 1Pinocchio: Ouverture01:34
  • 2Pinocchio: Prologue02:20
  • 3Pinocchio: Scène 108:25
  • 4Pinocchio: Scène 202:22
  • 5Pinocchio: Scène 310:16
  • 6Pinocchio: Scène 404:55
  • 7Pinocchio: Scène 502:32
  • 8Pinocchio: Scène 603:21
  • 9Pinocchio: Scène 705:03
  • 10Pinocchio: Scène 802:59
  • 11Pinocchio: Scène 904:42
  • 12Pinocchio: Scène 1002:06
  • 13Pinocchio: Scène 1105:18
  • 14Pinocchio: Scène 1207:51
  • 15Pinocchio: Scène 1309:12
  • 16Pinocchio: Scène 1408:51
  • 17Pinocchio: Scène 1503:10
  • 18Pinocchio: Scène 1606:10
  • 19Pinocchio: Scène 1701:49
  • 20Pinocchio: Scène 1804:34
  • 21Pinocchio: Scène 1903:41
  • 22Pinocchio: Scène 2002:20
  • 23Pinocchio: Scène 2101:41
  • 24Pinocchio: Scène 2207:50
  • 25Pinocchio: Scène 2300:54
  • 26Pinocchio: Épilogue09:32
  • Total Runtime02:03:28

Info for Philippe Boesmans: Pinocchio

Joel Pommerat writes of his production of the Philippe Boesmans opera, Pinocchio: “Everyone has heard of Pinocchio. He has beome a legend. I have always sought inspiration for my work in the myths of which we ourselves are made. Not only is the story of Pinocchio a powerful one, but the myth of this character is still very much alive, even topical. Pinocchio is a paradoxical character. The moral of his story is not simplistic… Today, as I was ten years ago, I am touched by this story because it combines the exhilarating elements that belong in a tale, such as the epic, the marvelous, the quest as a rite of passage, and universality, as well as something harsher, more social, even political, and unsettling.” Philippe Boesmans’ goal was to be a composer like Wagner. At the age of 45, the self-taught and fiercely independent artist yielded to the allure of the world of opera. By the time he was 80 he had composed 8 operas which, following their premiere productions, have all been repeatedly performed in new productions in the most prestigious opera houses.

"A wonderfully lively, picaresque tale in which the strongest feature is Boesmans’s music – an extraordinary sonic confection…Pinocchio makes brilliant use of an array of styles and idioms…The singing is marvellous too, and well served by a vivid recording…Briot brings to the role of Pinocchio clean, youthful tones, but also lively variations of mood and tonal colour as the puppet transforms…Degout delivers powerful but finely modulated performances." (Opera)

"Much of Boesmans’ gleefully time-travelling score, is a delight – nimble and imaginatively coloured, slipping effortlessly between styles – and it emerges vividly in this performance, with Chloé Briot very sparky as the errant marionette who has to learn how to be human. Stéphane Degout is outstanding as the narrator and ringmaster, a bit of a grownup Pinocchio himself." (The Guardian)

Stephane Degout, baritone
Vincent Le Texier, baritone
Chloe Briot, soprano
Yann Beuron, tenor
Marie-Eve Munger, soprano
Julie Bouilianne, mezzo-soprano
Orchestre Symphonique de la Monnaie
Patrick Davin, conductor

Patrick Davin
Conducting contemporary music as well as the general repertoire, Patrick Davin is a renowned conductor, both in the symphonic and in the lyric fields.

A former student of Pierre Boulez and Peter Eötvös, Patrick Davin has given many world premieres by composers such as Philippe Boesmans, Luc Brewaeys, Bruno Mantovani, Jacqueline Fontyn, Charles Chaynes, Vinko Globokar, Murray Schafer, Conlon Nancarrow, Michael Levinas, Henri et Denis Pousseur, Xavier Dayer, James Dillon, Jean-Luc Hervé, Jean-Yves Bosseur, Kris Defoort and Marco Stroppa.

As a conductor in the symphonic repertoire, Patrick Davin has worked with main orchestras in Germany (Ensemble Modern in Frankfurt, Deutsche Kammerphilharmonie Bremen, Stuttgart and München Radio orchestras, Badische Philharmonie, chamber orchestras of Mannheim and Mainz, Musikfabrik in Düsseldorf), in France (Ensemble Intercontemporain, Orchestre de Lyon, Orchestre Philharmonique de Radio France, Orchestre de Montpellier, Orchestre National de Toulouse, Orchestre National de Lille, Orchestre Philharmonique de Nice), in Switzerland (Winterthur and Orchestre de la Suisse-Romande), in the Netherlands (Het Orkest van het Oosten, Gelders orkest, Nieuw Sinfonietta), in Spain (Jonde and Teatro Real, Bilbao orchestra), in Austria (Klangforum in Vienna), in Belgium (Orchestre Philharmonique de Liège, Orchestre National de Belgique, Flanders Philharmonic, Beethoven Academie) and in Luxembourg (Philharmonic orchestra).

He has collaborated with stage directors such as Luc Bondy (Théâtre de la Monnaie, Opéra de Lyon, Théâtre du Châtelet), Jorge Lavelli (Monaco), Herbert Wernieke (Théâtre de la Monnaie), Christophe Marthaler (Berlin and Hofburg in Vienna), Nicolas Joël (Toulouse), Robert Lepage (Opéra Bastille), Arnaud Bernard (Liege and Bilbao), Andre Engel (Opéra Bastille), Olivier Py (Geneva and Strasbourg), Stephen Langridge (Reisopera), Frédéric Dussenne (Théâtre de la Monnaie), Jürgen Flimm (Hamburgische Staatsoper), Philippe Sireuil (Liege and Antwerpen opera houses), Stefano Mazzonis (Liege), Jean-Claude Auvray (Marseille), Nicolas Brieger (Geneva), Philippe Arlaud (Geneva), Jean-Louis Grinda (Liege, Montpellier, Monaco), Alain Garichot (Geneva, Rennes), Cécile Roussat and Julien Lubeck (Liege), Patrice Caurier and Moshe Leiser (Marseille), Guy Cassiers (Rotterdam and Théâtre de la Monnaie) and Joël Lauwers (Liege and Théâtre de la Monnaie).

He works with international singers and soloists: Natalie Dessay, José Cura, Ludovic Tézier, José van Dam, Patrizia Ciofi, Alexandre Tharaud, Denis Matsuev, to name a few.

He is conducting the repertoire (die Zauberflöte, Fledermaus, Carmen, La Traviata, Dialogue des Carmélites, Don Giovanni, Werther, …) but also more rare works (La Muette de Portici by Auber), as well as the contemporary ones (Reigen by Boesmans).

Patrick Davin was chief conductor of the ensembles “L’Itinéraire” in Paris, “Musiques Nouvelles” in Belgium and of the Namur choir. He was also first guest conductor of the Opéra de Marseille in France.

He used to be a teacher at the Brussels conservatory.

He is now first guest conductor of the Liege opera house and Artistic & Musical Director of the Orchestre Symphonique de Mulhouse.

This album contains no booklet.

© 2010-2019 HIGHRESAUDIO