Nuits d'été & La damoiselle élue

Background#

The album was a sequel to Shéhérazade, a 1981 recording on which von Stade, Doriot Anthony Dwyer, Jules Eskind, Martin Katz, the Boston Symphony Orchestra and Ozawa performed songs by Maurice Ravel: Deux mélodies hébraïques, Chansons madécasses and two of the Cinq mélodies populaires grecques in addition to Shéhérazade itself.

Recording#

The album was recorded digitally in the Symphony Hall, Boston. Berlioz’s Les nuits d’été was recorded on 17 October 1983, following a live performance of the work in Symphony Hall on 15 October 1983. Debussy’s La damoiselle élue was recorded on 10 October 1983, following live performances of the work in Symphony Hall on 7 and 8 October 1983. The engineers used a Soundstream system and a Sony PCM 1610 system. The album was mastered using CBS’s DisComputer system at the CBS Studios, New York City.

Cover art#

The cover of the album was designed by Christopher Austopchuk, and features a photograph of von Stade taken by John Gotman.

Reviews#

John Warrack reviewed the album on LP in Gramophone in February 1985, comparing Frederica von Stade’s Les nuits d’été with performances by Janet Baker, Régine Crespin and Jessye Norman, and her La damoiselle élue with performances by Ileana Cotrubas and Barbara Hendricks. Von Stade, he wrote, sounded slightly uncomfortable on her new recording. She was a distinguished artist, and she had the intellect and perspicacity to appreciate the diversity of the music that she was presenting. But her programme had confronted her with problems that she had been unable to solve satisfactorily. The album’s performance of La damoiselle élue was “rather plain and unevocative”, with “conscientious singing of the part for the so-called ‘récitante’ by Suzanne Mentzer”. French and other francophone listeners would cringe at the Tanglewood Festival Chorus’s failure to pronounce their words immaculately. Like von Stade and Mentzer, they sometimes slipped up when they came to final “e”, adding an inappropriate accent to turn “je” into “jé” or “me” into “mé”. This was not a trivial failing in a performance of music by a composer who cared as deeply about language as Debussy did. or Suzanne Danco. “The sadness of ‘Absence’ colours the tone most eloquently, and ‘Au cimetière’ has a particularly haunting quality.” In La damoiselle élue, Barbara Hendricks Robert Ackart reviewed the album on LP in Stereo Review in May 1985. Frederica von Stade. he wrote, was an artist who prepared her performances with care and presented them with style and precision, and her latest album had been made with her craftsmanship. “Her French is impeccable, her intonation excellent, her vocal delivery at all times free and pure.” In Les nuits d’été, she was eloquent in the cycle’s two most familiar songs, “Le spectre de la rose” and “Absence”, singing both with “beautiful control and sense of line”. Her version of the cycle’s only cheerful item, “Villanelle”, “brims over with lighthearted joy”. And her readings of “Au cimetière” and “Sur les lagunes” showed a deep understanding of the overcast, inward-looking mood of their poetry. A miniature drama about a dead young woman in heaven waiting for her beloved to join her, La damoiselle élue was a piece that could sometimes lapse into “a mawkish sweet-sadness”. Von Stade avoided this trap in a performance that shone a bright light on the dualities of Rossetti’s vision, with its mixture of eroticism and purity, craving and holiness, hope and acquiescence, the sublunar and the celestial. Suzanne Mentzer, the Boston Symphony Orchestra and Seiji Ozawa all supported their colleague ably. Lionel Salter reviewed the album on CD in Gramophone in May 1998. Frederica von Stade’s vowels were inaccurate, he thought, and he did not agree with her tempos. “Le spectre de la rose” proceeded at a crawl, and so did “Sur les lagunes” until a moment (at “La colombe oubliée”) when von Stade suddenly put her foot on the accelerator without Berlioz’s permission. Her technical skill allowed her to sustain an adagio pacing without running out of oxygen, but the result seemed unnatural. Moreover, her “Au cimetière” sounded less gripping than it should, and her “Absence” was deficient in both suffering and in desire. John Warrack returned to the album in Gramophone in February 2004, in a survey of the entire Les nuits d’été discography. It was inevitable, he thought, that even some singers as astute and alert as Frederica von Stade should struggle with the challenges of songs as elusive as those of Berlioz’s cycle. She phrased her “Le spectre de la rose” beautifully, but sounded uncomfortable otherwise. Her “Villanelle” was “hasty rather than lively”, and her “Absence” “lacks the sense of pain that others have found”. David Shengold mentioned the album in Opera News in December 2016 in the course of a review of a box set of von Stade’s recordings in which it had been included. Her version of Les nuits d’été was valuable, he wrote, “For documenting von Stade’s always individual and classy take on the material without necessarily being the best … out there”. She had delivered a “likeable performance of musical and linguistic sensitivity, best in the slow, contemplative stretches such as ‘Absence’.” Alan Blyth provided a detailed comparison of von Stade’s Les nuits d’été with other performances of the cycle in his book Song on Record.

Accolade#

In the year after its release, the album was nominated for a Grammy award for the best classical solo vocal performance of 1985.

CD track listing#

Hector Berlioz (1803–1869) Les nuits d’été, Op. 7 (“Summer nights”, 1841–1856, texts by Théophile Gautier) * 1 (2:13) “Villanelle” * 2 (7:21) “Le spectre de la rose” * 3 (7:06) “Sur les lagunes (Lamento)” * 4 (5:48) “Absence” * 5 (5:56) “Au cimetière (Clair de lune)” * 6 (3:55) “L’île inconnue” Claude Debussy (1862–1918) La damoiselle élue (“The blessed damozel”, 1893, text after Dante Gabriel Rossetti, translated by Gabriel Sarrazin) * 7 (19:25) “La damoiselle élue”

Musical#

• Frederica von Stade, mezzo-soprano
• Susanne Mentzer, mezzo-soprano (in La damoiselle élue)
• Tanglewood Festival Chorus (in La damoiselle élue)
• John Oliver, chorus master (in La damoiselle élue)
• Boston Symphony Orchestra
• Seiji Ozawa, conductor

Other#

• David Mottley, producer
• Jack Renner, engineer
• Martha de Francisco, Soundstream editor

Release history#

On 2 November 1984, CBS Masterworks released the album on LP (catalogue number IM 39098) with sleeve notes by Barrymore Laurence Scherer and an insert with texts and translations. In 1987, Sony issued a compilation CD (catalogue number SMK 60031) that supplemented the contents of the album with von Stade’s recording of Ravel’s Shéhérazade. In 2016, Sony released the album on CD (in a miniature replica of its original LP sleeve) with a 52-page booklet in their 18-CD collection Frederica von Stade: The Complete Columbia Recital Albums (catalogue number 88875183412).