Britten : Les Illuminations op. 18

Barbara Hannigan chante et dirige l'Orchestre philharmonique de Radio France joue dans Les Illuminations, de Britten.

#Britten #Hannigan # LeTempsRetrouvé

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[alainbastien]

Une Barbara Hannigan extraordinaire, un merveilleux orchestre de radio France, et une véritable chorégraphie toute en grâce et en subtilité !
Magnifique ! On ne comprend pas tout mais ça n'a pas d'importance 😊❤

[kikipt]

Incredible breath control, flawless placement and phrasing. This woman is simply phenomenal as both a singer and a conductor. Every performance I have seen of her has been extraordinary in every way. Brava maestra!

[donkeychan]

Remarkable performance - exquisite and perfect in every way.

[francoishenkins]

Stunning! Musically one of the most spectacular performances ever!! Amazing technical perfection.

[francoismeric]

Habitée comme cette oeuvre, c'est vraiment cette femme qui devait la diriger. Admirable à tout point de vue. Un bonheur.

[larryeckerling]

Absolutely STUNNING. 26 minutes of jaw dropping perfection.

[robertjerme]

Wow! I have to thank the YouTube algorithm for recommending this amazing composition and unique performance. I will be seeking more from Barbara Hannigan as well as the English translation of the libretto.

[romandziarski]

Amazing piece and amazing performance. Spellbinding.

[pierrebenichou]

quelle voix extraordinaire ... merci :)

[thinkforyourself]

Her expressiveness is captivating. Worth watching for that alone.

[stephenbarnett]

A truly transcendent account of this early masterwork of Britten, & a favorite piece here. Standing with or even surpassing the great first Heather Harper / Marriner version. . . . ., no mean feat. . . .! That Barbara Hannigan both conducts & sings it soo superbly is touching & a marvel. . . . . . . Kudos to all involved !

[stephenhall]

Britten composed this "for high voice" and although Sophie Wyss gave the prem (or was prepped for it), it was Pears who performed it most and the work entered the tenor repertoire.
Heather Harper recorded it with Marriner and other women have made successful recordings.
There is a lot of 'partisanship' associated with the piece and I have long thought that it suits a female voice best. Pears, in later life, said the same and admitted that it requires better French than most British singers could manage. Harper had studied sung French and Wyss was German Swiss who settled in England. She performed with Britten at the piano many times after WW2 and well into Britten's late middle period. She was brilliant at recital scale but not at the 'operatic' strength of Pears or Harper.
The remarkable Barbara Hannigan of Canada trained on several instruments then as a conductor, increasingly singing as well after many colleagues encouraged her, especially in Europe and notably Gyorgy Ligeti but she is cautious in what she both sings and conducts.
Her performance here is superb and was probably rehearsed a lot because some of the writing is such that a conductor usual. Here we witness utter mutual trust by all of the musicians involved and they achieve the light and shade as well as the dynamics of what remains a challenging work from 1940.
What a find!

[notaire]

Wunderschöne Aufführung dieses einzigartig konstruierten Meisterwerks mit herrlicher Stimme der genialen Solistin/Dirigentin sowie farbenreichen und perfekt vereinigten Tönen aller Streichinstrumente. Die Solistin/Dirigentin leitet das kompakte und ausgezeichnete Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Alles ist genial!

[Channa]

Don → Stupéfaction→ Élévation ♪ MERCI♫

[mauricioromero]

Espléndida interpretación! Bravo, Gracias por compartirlo

[bertrandheraud]

formidable mais ce serait mieux avec sous titres...

[CHAARTS]

even if I do not much like Hannigans voice, as she bleats., this is nevertheless an impressive performance

[lsteppler]

i was so shook when the conductor started singing! what!!

[sergiopinto]

TKS Illuminations op. 18 - YOU ARE THE

[BangkokVoiceCoach]

I can't help feel that Britten became a nasty little man. This cycle was written for soprano and premiered in 1940 by Sophie Wyss. Britten later dumped her in favour of the ghastly Peter Pears. By 1942, Britten's preferred Peter Pears's interpretation of Les Illuminations to Wyss's performance, which he described to a close friend as "hopelessly inefficient." Wyss was keen to resume her professional relationship with Britten; he was no longer interested and confessed to Pears that he was "too fond of her to be rude, & not interested enough to be critical". Composed in 1939, aged 26, it is Britten at his best. Then came Grimes and the paranoia. He surrounded himself with Yes-Men and those who dared criticise were expelled. This performance cuts out the middle man (the conductor) and gives a great connection to the text. It reminds us that Britten could have been a great composer.