"The history of 20th-century opera is replete with problematic masterpieces which have taken several decades to establish themselves: the operas of Zemlinsky and Schreker, those of Busoni and most of the operas of Janáček, Pfitzner's 'Palestrina', Szymanowski's 'King Roger' and Martinů's 'Juliette' come immediately to mind. Georges Enescu's single opera 'Oedipe' is equal to the best of these yet unlike them it has not yet managed to gain the secure footing on the international operatic stage that it so clearly deserves. This is puzzling: it is based upon a well-known myth, is highly stageworthy, strongly dramatic and full of sumptuously beautiful music. True, it has no formal setpiece arias, and the title role is demanding - Oedipus is scarcely ever off the stage after the start of Act II. Yet the vocal parts are brilliantly characterised and offer a fine range of opportunities: the heroic dignity of Oedipus, the demented wailing of the Sphinx, two major soprano roles - Jocasta and Antigone -and some exciting and lyrical choral music give Oedipe all you could want to show off the talents of a major opera house.
"The present recording has probably done more than anything else to further Oedipe's reputation. Made in 1989 with a star cast on top form, a world-class opera orchestra and conducted by Lawrence Foster, whose understanding of Enescu's special musical word is immediate and total, it is notable especially for the magnificent interpretation of José Van Dam, who brings to the title role that perfect balance of nobility and passion which caused Olivier Messiaen to cast him in the lead for his opera 'Saint-Francois d'Assise' a few years earlier. So this reissue is a timely reminder of the vital beauties of 'Oedipe': let's hope more opera houses take it up. During his lifetime, Enescu's compositions had to compete with his international reputations as virtuoso violinist, conductor and pianist - with his phenomenal memory and natural musicianship, there wasn't much Enescu couldn't do. There's no doubt that this versatility harmed his composing. For a public that likes to settle people into clear categories, Enescu the virtuoso eclipsed Enescu the composer. And all this activity, while financially more lucrative, left him little time to compose. He completed no more than 33 works with opus number before his death in 1955. Two major symphonies were left unfinished, and many pieces were worked over for years. Not least 'Oedipe': conceived and partly sketched as early as 1910, the opera's piano-score was written by 1922, but the orchestration was not finished until 1931. According to Enescu's pupil Yehudi Menuhin, the score accompanied Enescu everywhere during this period, even on long tours, the composer working on it before, after and between concerts, depriving himself of sleep in order to bring the work to completion.
"[...] The true source of Enescu's style is the folk musics of his native Romania — musics which were equally important to the work of his friend Béla Bartók. Both in the music of the lautari (the many itinerant violinists, Gypsy or not) and the intricate melodic patterns of Romanian genres such as the doing ('lament') or the hora lunga ('long song'), Enescu found in his native folk music an endless resource and lasting inspiration for melodic flexibility and rhythmic innovation. Other elements go into the mix: the limpidly modal music of his teacher Gabriel Fauré, the clarity and colour of early Ravel, and the fantastical early ballets of Stravinsky. There is more than one echo in 'Oedipe' of both 'The Firebird' and 'The Rite of Spring'. Indeed the opening of Part II of The Rite was audibly influential on the haunting Sphinx music in Act II of Oedipe. But these influences are identifiable only in passing: 'Oedipe' is a musical and operatic world quite unlike any other, a world of perpetually shifting melody, harmony, colour and light which envelops the listener from first to last." (Peter Quantrill. From the liner notes.)
Performers: Orchestre Philharmonique de Monte-Carlo, Lawrence Foster, José Van Dam, Barbara Hendricks, Brigitte Fassbaender, Marjana Lipovšek
1.1. Prélude
1.2. Acte I: 'Roi Laïos, En La Maison'
1.3. Acte I: 'Thèbes, Chante, Des Sept Portes'
1.4. Acte I: 'Enfant Divin, Royal Enfant'
1.5. Acte I: Danse Des Bergers
1.6. Acte I: 'J'apporte De Délos La Flamme D'Appolon'
1.7. Acte I: 'Enfant, Mon Enfant, Comment T'appeler'
1.8. Acte II: 'Adonis, Couché Sur La Poupre Et L'or'
1.9. Acte II: 'Oepide, O Fils De Polybos'
1.10. Acte II: 'Ah! Goûtez Sans Moi'
1.11. Acte II: 'Pourquoi Trembler, Mon Fils?'
1.12. Acte II: 'Et Je Me Couvrirai'
1.13. Acte II: 'Est-ce Déjà Le Roi?'
1.14. Acte II: 'Où Suis-je?... Le Corbeau Crie...'
1.15. Acte II: 'Mais Si C'était Un Piège Du Dieu...'
1.16. Acte II: Interlude
1.17. Acte II: 'De L'aurore À L'aurore'
1.18. Acte II: 'Il Est Un Breuvage'
1.19. Acte II: 'Je T'attendais'
1.20. Acte II: 'Ho! Ho! Réveillez-vous!'
1.21. Acte II: 'Evohé! Evohé!'
2.1. Acte III: 'Oh! Oh! Hélas! Hélas!'
2.2. Acte III: 'De L'antique Kadmos'
2.3. Acte III: 'Créon! Créon! Voici Créon'
2.4. Acte III: 'Divin Tirésias, Très Cher'
2.5. Acte III: 'Qu'entends-je, Oedipe'
2.6. Acte III: 'Reconnais-tu Cet Homme?'
2.7. Acte III: 'Voyez, Thébains, Voyez'
2.8. Acte III: 'Père! Père'
2.9. Acte III: 'Il Faut Partir, Oedipe'
2.10. Acte III: 'Je Marcherai Dans Les Ténebres'
2.11. Acte IV: 'Bienveillantes! Bienfaisantes!'
2.12. Acte IV: 'Déesses Qui Veillez?'
2.13. Acte IV: 'Lumière De Mes Yeux'
2.14. Acte IV: 'Nous Sommes Arrivés...'
2.15. Acte IV: 'Père! Père! Créon! Je Vois Créon!'
2.16. Acte IV: 'Pouvais-je Penser'
2.17. Acte IV: 'Oedipe!'
2.18. Acte IV: 'Adieu, Douce Antigone'
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