Fauré: Pelléas et Mélisande, orchestral suite Op.80

The Orchestre Philharmonique de Radio France, conducted by Mikko Franck, perform Fauré's Pelléas et Mélisande orchestral suite. Concert recorded live on 5 October 2018 at the Grande salle Pierre Boulez of the Philharmonie de Paris.
GABRIEL FAURÉ (1845-1924) : Pelléas et Mélisande - Composed for piano in May 1898 and orchestrated in 1900. First performed on 3 February 1901 (without the Sicilienne) in Paris, and with the Sicilienne in 1912.
Prélude
La fileuse
Sicilienne
Mort de Mélisande
"I shall never find my way out of this forest. Heaven knows how far this animal has led me. I had the impression it was mortally wounded. Yes, here are traces of blood." Uttered by Golaud, the verty first words of the symbolist melodrama Pelléas et Mélisande by Maurice Maeterlinck were later immortalised by Debussy in an opera that would profoundly impact music history. The work by the Belgian playwright, recipient of the Nobel Prize in literature in 1911, was a great success following its premiere at the Bouffes-Parisiens theatre on 17 May 1893. A story of darkness and twilight filled with references to the courtly world of the Middle Ages, the drama was adapted on countless occasions on the stage, with notably Sarah Bernhardt in the masculine role of Pelléas, alongside Mrs Patrick Campbell as Mélisande.
Though Debussy gave future generations the most remarkable musical version of Pelléas Si Debussy laissa à la postérité la version musicale la plus remarquable de Pelléas, other composers were equally and successfully inspired. Schoenberg wrote a symphonic poem, Sibelius a music for the stage, Mel Bonis a work for piano and William Wallace a suite for orchestra. It was Gabriel Fauré, however, who had the honour of being the first to put these evanescent characters to music, becoming so after the London performances in 1898. It was therefore in the language of Shakespeare that Fauré's "Chanson de Mélisande" was first performed. Mrs Patrick Campbell, also known as alias Mrs. Pat, whom later took on the roles of Eliza Doolitle in Bernard Shaw's Pygmalion, first called upon Debussy for this English version of Pelléas and Mélisande.
However, as Debussy was entirely dedicated to his opera, Mrs Pat turned therefore to Gabriel Fauré. Given only enough time to compose a version for piano, Fauré used old incomplete scores, such as his Bourgeois gentilhomme from 1893 for the famous Sicilienne, and called upon his student Charles Koechlin to orchestrate this new work for the stage. Two years later, an orchestral suite was required for a symphonic concert, for which Fauré himself orchestrated four movements from the initial score, doubling the number of instruments. According to his biographer Jean-Michel Nectoux, "Pelléas et Mélisande is Fauré's symphonic masterpiece."
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[@charlesshoultz3319]

"Sicilienne" is the heart of this work. One listens to it, and one feels as though he is in a dream... wandering through some hazy, golden land, where everything is important but nothing is distinct. A nowhere world. Arcadia. But with great significance buried beneath the idylls.

[@audejavel2329]

Très belle interprétation avec tout le lyrisme nécessaire à cette tragique "love story" bourrée de symboles, double de Tristan & Iseult d'un moyen âge fantasmé (on est pas très loin de "Game of Throne) j'aime l'interprétation de Mikko Franck pas du tout impressionniste qui fait bien sonner les instruments à vent et les cordes...

[@MariaCristinaBittar]

00:03 __ Prélude (quasi adagio) 06:38 __ La fileuse (andantino quasi allegretto) 09:18 __ Sicilienne (allegro molto moderato) 13:24 __ Mort de Mélisande (molto adagio)

[@feraudyh]

The interpretation is superb.

[@juanvidal340cielo]

Maravillosa interpretación de una hermosa obra 👍🏽 !!

[@ivanbeshkov1718]

Franck and Faure, two giants like Debussy and Ravel, D'Indy and Poulenc.

[@luvpioupiou]

Sublime Sicilienne !!!

[@notaire2]

Wunderschöne Aufführung dieser spätromantischen Suite mit milden Tönen aller Holzblasinstrumente und seidigen Tönen aller Streichinstrumente. Die Virtuosität aller Einzelspieler ist echt bemerkenswert. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im lyrischen Tempo und mit sorgfältig kontrollierter Dynamik. Wunderbar!

[@richardbuchanan7124]

Ah, Sicilienne.

[@Mikeztarp]

9:20 The Road Most Travelled, Jeremy Soule, Morrowind soundtrack.

[@tomosborne4702]

Great spot.

[@garydavidderby]

PLEASANT

[@garydavidderby]

RECORING ARTS PERFORMANCE AWARD

[@julietteterrisse5762]

9:12 Sicilienne

[@CategoricalImperative]

Thank you

[@steveburrus9347]

Hey "Frenchie" would youi interpret for me the French phrase "dirige-t-il à côté de l'estrade ?" s'il vous plait. I don't guess thajt I have taken enough French courses on Babbel to FULLY KNOW/UNDERSTAND FRENCH.

[@lespoursuivants9838]

it means "why does he conduct next to the platform"

[@feraudyh]

If you look around 6:40 you can see the conductor not standing on the platform while conducting. By the way there are several free translation websites on the web. I suggest you look for Google Translate or Bing Translator for example.

[@critias6187]

@@feraudyh no, only wordreference

[@feraudyh]

@@critias6187 I fail to grasp the meaning of your comment.

[@critias6187]

Henri de Feraudy bing or google translater, reverso... that sucks the only true one is wordreference

[@DeltaSigmaTV]

Très belle interprétation, mais pourquoi dirige-t-il à côté de l'estrade ??!!! kzbin.info/www/bejne/rXvFhJpmotZ_o8k

[@MegaVicar]

To make us ask questions.

[@sophielacharlotte]

Pour s’éloigner du premier violon :)

[@maxularades9276]

@@sophielacharlotte Et se rapprocher du premier violoncelle ?

[@jeancharlesrolland]

parce qu'il y a une chaise sur l'estrade puisqu'il ne peut pas rester debout longtemps.

[@emmanuelmassarotti5535]

Parce qu'il aime déambuler au rythme de la musique

[@mr.thickey3959]

Truly a gorgeous piece of music! But I feel the need to point out how fine a looking conductor Mr. Mikkos Franck is! Wonderfully neat & clean, contrary to so many “nutsos” who look like they went through a wash machine twice over!!! WHY? The conductor should bring “respect & class” to the music he conducts, & NOT be a “spectacle of embarrassment” to his orchestra AND audience!! If you need to see something “funny”, go to the ZOO!

[@ClassicalDavid]

Based, also this piece doesn't really have much room for crazyness from the conductor

[@josiecorning3738]

No quarrel with how you feel but given your preference, check out KZbin's Horowitz playing Rach 3 under baton of Zubin Mehta. Never was there a more elegant conductor. Regal almost.

[@plekkchand]

@@josiecorning3738 And nearly devoid of talent.