Benjamin Bernheim – Boulevard des Italiens


1 CD 

Κλασική Μουσική 

Deutsche Grammophon


Νέο!12 Μαΐου 2022


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Benjamin Bernheim (Tenor)

Orchestra del Teatro Comunale di Bologna
Frédéric Chaslin (Μαέστρος)


Puccini: Madama Butterfly – Adieu, sejour fleuri

Donizetti: La Fille du Régiment – Pour me rapprocher de Marie

Donizetti: La Favorite – Ange si pur

Verdi: Don Carlos (Five-act French version)

Fontainebleau! Forêt immense

Je l’ai vue

Le voilà! … Toi, mon Rodrigue

Dieu, tu semas dans nos âmes

Donizetti: Dom Sébastien, Roi de Portugal – Seul sur la terre

Spontini: La Vestale – Introduction & Qu’ai-je vu! … Julia va mourir!

Verdi: Jérusalem – L’Emir auprès de lui m’appelle & Je veux encore entendre ta voix

Cherubini: Ali Baba – C’en est donc fait & C’est de toi, ma Delie

Mascagni: Amica (Amica!…) Vous restez á l’ècart & Pourquoi garder ce silence obstiné?

Verdi: Les vêpres siciliennes – Ô toi que j’ai chérie

Puccini: Tosca, SC 69 – O de beautés égales

Documenting more than a hundred years of Italian operatic music in France, Benjamin Bernheim’s new album Boulevard des Italiens. Music stretching from Spontini’s La Vestale to Mascagni’s Amica – all sung in French – receives gold-star treatment from Bernheim, a tenor ideally placed to sing this repertoire in his native language. As he explains, “The aim was really to show the history of the French language in opera houses in Paris by way of these Italian composers who brought their pieces there. With the Opéra Garnier at one end, and the Opéra-Comique at the other, the Boulevard des Italiens is where it all happened.” Benjamin Bernheim has received widespread acclaim for both his stage performances and his 2019 debut album on Deutsche Grammophon, for whom he records exclusively. On Boulevard des Italiens, the singer hailed by Diapason as “the new star tenor” not only gives an object lesson in French operatic singing, with diction praised for its “miraculous clarity”, but provides a fascinating survey of the symbiotic relationship between Paris and generations of Italian composers.

There’s something of the young Roberto Alagna about Bernheim’s tenor, a bright, open sound, unforced and with a sunny smile in his voice. — Gramophone Magazine, May 2022

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