Victorin de Joncieres

[mikehopf]

Available from Qobuz: " Dimitri" an opera by Victorien de Joncieres ( 1839 - 1903 ).

Not bad on first hearing... like a mixture of Gounod & Wagner.

[Mark Thomas]

Now that mixture's a very intriguing prospect. Thanks, Mike.

[Alan Howe]

...er, like later Massenet, peut-être? Or Reyer?

[Alan Howe]

Incidentally, there are some other intriguing works detailed here:
http://en.wikipedia.org/wiki/Victorin_de_Jonci%C3%A8res
And a recording is now out at Amazon.fr:
http://www.amazon.fr/Joncieres-Dimitri-Jonci%C3%A8res-Victorin/dp/8493968692/ref=sr_1_1?s=music&ie=UTF8&qid=1394704798&sr=1-1&keywords=joncieres

[Mark Thomas]

I've just listened to the first two acts, and Act III is playing as I type. It's a most enjoyable, melodious and colourfully orchestrated opera, and pretty much what you'd expect from a French composer in 1870. So it's an altogether less sumptuous soundscape than most Massenet, and there isn't much Wagner in it that I have detected, but plenty of Gounod and Verdi, and a lot of Meyerbeer. According to the booklet, there is a Wagnerian element in Joncières' use of leitmotifs associated with individual characters but, at this first hearing, I've not really been aware of them. I don't think it's a rediscovered masterpiece but, as a sucker for French opera of this era, I'm relishing making it's acquaintance. Audio extracts are here.

It's a big piece, five acts lasting 130 or minutes, and the download is good value at only €14.99 for lossless WMAs (at Qobuz.com you can buy the tracks in a variety of formats, which is impressive). The recording is from the stable that recently brought us Massenet's Le Mage, so production values are high.

[Alan Howe]

I have it on order. Can't wait.

[Mark Thomas]

I've listened to it all now - a very enjoyable morning. If you want to play the influences game, I'd say, in declining order of influence: Meyerbeer > Gounod > Verdi. It doesn't have much individuality, but it's a robust piece which is firmly in the French tradition which led on to Massenet's Le Roi de Lahore, for example. Good stuff.

[Alan Howe]

This is very enjoyable stuff indeed. I'd say that the Meyerbeer influence is very much a background one, with the remainder sounding rather like Gounod, only darker - and without the latter's great melodic gift. Verdi is definitely in the mix too. Unlike some other recent recordings of obscure 19th century opera, this particular release is blessed with a good deal of pleasing singing, in particular from the performer of the title-role, French tenor Philippe Talbot who sounds like quite a find. Highly recommended!

[Friesner]

Joncieres was, by the way, a pen name.  Under his real name (can't remember it) he was a Parisian music critic - just possibly reviewing his own alter ego's music?

About 40 years ago, when I still had a useful voice and wasn't a bad singer if I do say so, I entered an operatic competition using, among other things, an aria from one of Joncieres' operas.  I have totally forgotten which one, but I can still recall broad sections (but not all) of the aria!  Very Meyerbeeresque (sic), pseudo-dramatic (which means he wasn't all that convincing), but the fit was perfect for my low bass-baritone and the judges wanted something in French, so they got the Joncieres and an aria from the French-language Rossini pastiche "Robert Bruce."  Wasn't enough for first prize, but I did snag third....

And today, when I ran across this thread, was the first time since that audition that the name Joncieres has come to my notice.  Really, really forgotten!!   

[Friesner]

Oh my.  I should have looked at Google BEFORE making that post just above.

Felix-Ludger Rossignol, a.k.a. Victorin de Joncieres.  The opera from which my aria was taken was "Sardanapale."  And now, for some strange reason, because I've remembered the name, I can also recall a few more snatches of the aria.  Weird.

[Mark Thomas]

I'm glad that you enjoyed Dimitri, Alan. I've listened to it a couple more times since my original posts and I must say that the work doesn't lose its appeal with familiarity. Rather the reverse, in fact. No, Joncières didn't have Gounod's fund of instantly memorable melody, but the piece is a very long way from being tuneless. I'd happily investigate more Joncières.

[Alan Howe]

Listened to the whole of Dimitri at one sitting this afternoon and found that this is a genuine contender for revival today. It is absolutely choc full of memorable tunes and the use of leitmotifs means that these tunes recur to great effect throughout. The use of the orchestra is also rich and expert - far beyond Meyerbeer, for example. I'd say it was certainly as good as, say, Hérodiade or Le Roi de Lahore (Massenet). The performance is a triumph for all concerned - singers (generally good, sometimes exceptional), orchestra (which covers itself with glory) and conductor, who combines sensitivity with a proper sense of the work's grander moments. The recording quality is absolutely superb. A must-buy for lovers of 19th century opera.

[Alan Howe]

About 40 years ago...And now, for some strange reason, because I've remembered the name, I can also recall a few more snatches of the aria. Weird.

Funny that, yes. I can remember my Latin ablative prepositions from the same period 

[strelsa42]

This is a thoroughly enjoyable listen for anyone with a taste for Gounod/Thomas/Massenet. One question : the Act 3 ballet consists of one number lasting 2.20 minutes. I am wondering if the ballet has been cut for this recording or whether the single number is all that was intended. Most ballet sequences for French operas on this scale would be considerably longer. I am hoping that eventually the researchers at the Palazzetto Bru-Zane get around to unearthing some of the full evening ballets from the period that they are doing so much to revive interest in.

[Christopher]

I would be interested to know, given its Russian theme, does it sound particularly "Russian"?