“Le boeuf sur le toit” by French composer Darius Milhaud (1892-1974) combines various melodies from Brazil: tangos, maxixes, sambas and the Portuguese fado. These had haunted Milhaud ever since his stay in Brazil. Subtitled “Cinéma-Fantaisie” and dedicated to Charlie Chaplin, the work was premiered in Paris in 1919 with a pantomime libretto by Jean Cocteau. In 1976, Leonard Bernstein included this work on his two programs of predominantly French music with the Orchestre National de France – a stimulating blend of celebrated repertoire works as well as lesser known masterpieces from the 19th and early 20th centuries. Reviewing one of the concerts, David Stevens, the critic of the International Herald Tribune, wrote on 4 November 1976: “There are precious few conductors who can so completely identify themselves with the works of certain composers and at the same time occupy themselves with extracting total cooperation from such willful bodies of humanity as, say, a French orchestra. The miracle duly took place¿”
Milhaud, La création du monde, op.81a
French composer Darius Milhaud (1892-1974) owes his ballet “La création du monde” (The Creation of the World) above all to the jazz music he had heard in the United States in 1922. It was first performed in Paris in 1923 with decors and costumes by the artist Fernand Léger. In 1976, Leonard Bernstein included this work on his two programs of predominantly French music with the Orchestre National de France – a stimulating blend of celebrated repertoire works as well as lesser known masterpieces from the 19th and early 20th centuries. Reviewing one of the concerts, David Stevens, the critic of the International Herald Tribune, wrote on 4 November 1976: “There are precious few conductors who can so completely identify themselves with the works of certain composers and at the same time occupy themselves with extracting total cooperation from such willful bodies of humanity as, say, a French orchestra. The miracle duly took place¿”
Berlioz, Symphonie fantastique, op.14
In November 1976, one year after his triumphal performance of the Berlioz Requiem in September 1975 (also recorded by Unitel), a bearded Leonard Bernstein returned to Paris to conduct the Orchestre National de France. In two highly publicized concerts given at Paris’ Théâtre des Champs-Elysées, he conducted Berlioz’s “Symphonie Fantastique” and “Harold in Italy”, in addition to two works by Darius Milhaud, Bloch’s “Schelomo Rhapsody” and Schumann’s Cello Concerto, the latter two featuring the celebrated cellist Mstislav Rostropovich. The concerts were unanimously hailed in the press, both for the dynamism and brio of a conductor at the peak of his artistic powers, and for the unmistakable signs of rejuvenation of the Orchestre National de France.
Berlioz, Harold in Italy, op.16
In November 1976, one year after his triumphal performance of the Berlioz Requiem, a bearded Leonard Bernstein returned to Paris to conduct the Orchestre National de France. In two highly publicized concerts given at Paris’ Théâtre des Champs-Elysées, he conducted Berlioz’s “Symphonie Fantastique” and “Harold in Italy”, in addition to two works by Darius Milhaud, Bloch’s “Schelomo Rhapsody” and Schumann’s Cello Concerto, the latter two featuring the celebrated cellist Mstislav Rostropovich. The concerts were unanimously hailed in the press, both for the dynamism and brio of a conductor at the peak of his artistic powers, and for the unmistakable signs of rejuvenation of the Orchestre National de France.
“Hommage à Gounod” Gounod Birthday Concert
The Palazzetto Bru Zane joins forces with the Orchestre National de France to present a special concert retracing the composer’s career through rare and little-known pieces: his cantata for the 1837 Prix de Rome (Marie Stuart), the unpublished first version of the Poison Aria from Roméo et Juliette, his opera Cinq-Mars (revived only in 2015), excerpts from his epic sacred oratorio Mors et Vita, and the big female duet from Le Tribut de Zamora, the composer’s last opera. As is appropriate for a tribute, the concert also recalls some of Gounod’s greatest successes, with the Overture to Mireille and the Ballet Music from Faust, which have constantly delighted music lovers for more than a century now. “Bravos for the soloists and orchestra!” (Operawire)