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Albert Roussel - Padmâvatî, Op.18 (1918) {Live}

Albert Charles Paul Marie Roussel (5 April 1869 – 23 August 1937) was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the impressionism of Debussy and Ravel, while he later turned toward neoclassicism.'' Padmâvatî, Opéra-ballet en deux actes, Op. 18 (1913-18) Librettist: Louis Laloy (1874-1944) Dedicated: To his wife Act I 1. Prelude 2. Scene I (4:53) 3. Scene II (9:53) War Dance (15:31) Dance of the Female Slaves (19:41) Entree and Dance of the Women of the Palace (23:49) 4. Scene III (35:46) 5. Scene IV (46:08) Act II 6. Prelude (51:38) 7. Scene I (54:08) 8. Scene II (1:01:38) 9. Scene III (1:11:22) Padmâvatî -Rita Gorr, Ratan-Sen - Albert Lance Allaoudin - Gérard Souzay Nakanti - Jane Berbié Le Brahmane - Gérard Dunan Gora - Neilson Taylor BBC Chorus & London Symphony Orchestra conducted by Jean Martinon London Coliseum 6 July, 1969 Description by Adrian Corleonis [-] In that extra-canonical canon of great French operas known only to connoisseurs (e.g., Chabrier's Briséïs, d'Indy's L'Étranger, Magnard's Bérénice, Dukas' Ariane et Barbe-Bleue) Roussel's Padmâvatî, composed between 1914 and 1918, holds the most éclatant place, with its cunningly bristling Modernisms, its glistening orchestration, its compelling and dramatically cogent combination of opera and ballet, its discreetly piquant Orientalism (modal and Hindu scales, an Arab chant), its rhythmic animation, and its general splendor capped by a superbly riveting dénouement. In 1909, Roussel and his bride embarked on an extended honeymoon taking them to India, Ceylon, and Indo-China, in the course of which he visited the ruins of Chitoor in Rajputan. "When we arrived at Chitoor station, at 11 a.m.," Roussel recalled, "we were astounded to learn that the city was several kilometers away, across a plain which had to be crossed under a burning sun. And no means of transport!" An Englishman -- the future Prime Minister Ramsay MacDonald -- saved the day by sharing two horses and an elephant provided by the local Rajah. "We visited Chitoor and reminisced over its distant past, its siege and destruction by Mogul troops commanded by Sultan Allauddin, and especially over the dramatic episode of Padmâvatî's death." On his return to France, Roussel enlisted Orientalist Louis Laloy to fashion a libretto from the weave of history and legend surrounding Padmâvatî. The almost laconic result allowed Roussel the exhibition of his full compositional gamut, swiftly paced with escalating tension. Before the premiere -- at the Opéra on June 1, 1923 -- Roussel described his ambitions in Padmâvatî to the critic Georges Jean-Aubry (March 31, 1923), "For many years I have been attracted by the idea of composing, for a large theatre, some brilliant composition which would be neither old-fashioned opera, nor the present operatic drama, and which would allow me to make use of all the resources of a large chorus, dances and crowd movements and in which the symphonic development would have a clearly defined, necessary place, instead of being, as so often in the theatre, a source of boredom and delay for the plot." The opera is studded with moments in which everything comes powerfully together, but none is more striking than the ballet in which evil spirits attempt to seize Padmâvatî as she performs the funeral rites for her husband, King Ratan-Sen, her exorcism, and the final whelming cortège in which she descends into the crypt to be immolated as the Mogul conqueror bursts into the temple.