Bizet: Suites

 

The suites from Carmen and L'Arlésienne as performed by the New York Philharmonic Orchestra with Leonard Bernstein leading in 1967 & 1968 have been released many times, including in the CD-era Royal Edition and Bernstein Century series. This 2013 iteration is a plain-Jane release with little in the way of liner notes and containing the same transfer from 1992 as far as I know.

A review from 2020

This latest reissue of Leonard Bernstein leading the New York Philharmonic from the late 60’s features Bizet’s complete Carmen Suites 1 & 2 and a complete set of the L’Arlésienne Suites 1 & 2 as well. This is a bare-bones Sony reissue that was previously released on the Bernstein Royal Edition and Bernstein Century. It has no liner notes with the physical media if that is important to you, but it does sport the remastering from the 90’s Bernstein Century release.

If anyone remembers Bernstein’s controversial rendering of the full Carmen opera in the early 70’s, now on Pentatone SACD, it was infamous for the music’s deliberate pacing. I don’t sense that aspect in these Suites from a few years earlier, although you can feel a certain stodginess in the opening Toreadors, and Bernstein is freer with tempo adjustments than I am used to. The Carmen Suites, though, are more a feature for frequent and varied orchestral solos more than an ensemble showpiece, and this is where New York shines. The violin solo in the nocturne is an old-fashioned Romance-fest, the trumpet practically swaggers in the Toreador Song, and the quality solo moments are really endless.

The Sony sound is not my favourite in these Carmen Suites. The up-close placement is fine and actually makes things rather exciting, although the spotlit solos will not please everyone. However, the boomy sound of the Philharmonic Hall makes New York sound coarse at times, although the typically-forward American brass are a pleasure and the strings are aggressively tactile in their close perspective. The NY winds as a section are not always the most virtuous and the sound does them no favours in their occasional moments of casualness.

The name of the accompanying L’Arlésienne Suites might not sound as familiar, but by gum are there a host of tunes to keep you occupied, starting with the opening March of the Kings. I am more on board with Bernstein here; he treats all of these big tunes and orchestrations as he would a Sibelius symphony: full, thick, and Romantic, particularly in the strings. I am not as wild about the wheezy saxophone as a focus from Bizet, and Bernstein’s wobbly, vibrato-y sax is far from sensual, but really this is spectacular music making overall.

I am also more pleased with the sound in L’Arlésienne too; it is less boomy although New York is still captured closely. Bernstein’s big Romantic effects come through particularly effectively, the brass throughout the program punch through, and his requisite excitement at the podium, especially in the more powerful moments, steal the show.

In comparison to other recordings, Morton Gould on RCA Living Stereo gives quite a bit more Carmen music, but at 45 minutes, it could use some padding. Sir Neville Marriner, now on Pentatone, does not show bravura as Bernstein does, but the LSO from the 70’s are no slouch either. Sir Thomas Beecham’s L’Arlésienne on EMI is well respected, but I am not sure if the blousy sound has been tightened up, although musicality over drama might be preferable to some. Both Igor Markevitch on Decca Eloquence and Stokowski on Great Performances come highly regarded, but I don’t think either offer the complete Suites that Bernstein does.

In the end, this recording shines in L’Arlésienne more than Carmen, but Bernstein is always engaging, even if you disagree with his choices. Overall the sound is good, less so for me in Carmen, but the playing, especially the solo work, is exceptional, and the whole ensemble moments are well executed and exciting in typical Bernstein fashion.

 

 

 

Works
Carmen: Suite 1
Carmen: Suite 2
L'Arlésienne: Suite 1
L'Arlésienne: Suite 2

Ensembles
New York Philharmonic Orchestra
Leonard Bernstein, conductor

Label: Sony
Year: 1967-68; 2013
Total Timing: 71.25

 

Through the years, this is one of two recordings I have held onto of Bizet's famous suites. Bernstein and NY complement those from Marriner in London  quite nicely.

 

  

 

 

Find more Bizet recordings HERE!