Massenet - Thaïs / Fleming, Hampson, Sabbatini, Shkosa, Vidal, Devellereau, Cals, Yves Abel

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Editorial reviews

Amazon.com
Given the renaissance in recent years of an interest in Jules Massenet--consider, for example, the 1999 release of two Werthers back to back--the time definitely has become ripe for a new account of his late opera, Thaïs. This is the first alternative to appear on CD since the problematic version with Beverly Sills from the 1970s. While far from flawless (curiously, it was recorded in two stretches, with a pause of 15 months between them), it makes a mostly convincing case for the stirring beauty of Massenet's much-misunderstood work. For Thaïs, with its exotic setting in Egypt of the early Christian period, achieves much more than the sentimental romanticism often conveyed in out-of-context performances of its best-known excerpt, the violin instrumental Meditation. A kind of Tannhäuser in reverse, this story of sin and an illusory quest for salvation (adapted from Anatole France's novel) has its two main figures--the monk Athanaël and the beautiful courtesan Thaïs --crisscross in their interior journeys, only to end by arriving at diametrically opposed destinies (in a chiasmus that is the exact opposite of the one depicted in Tennessee Williams's Summer and Smoke).

Many will seek out this account chiefly for the presence of Renée Fleming in the title role, and she indeed crafts a memorable portrayal of Thaïs's path from worldly irony to trusting soul. Fleming deploys her familiar, unique vocal style with subtlety for the earlier scenes of Thaïs as courtesan, delivering her great aria of doubt with a Marschallin-like vulnerability. Indeed, it's the breathy sumptuousness typical of her voice that makes the converted Thaïs almost more of a challenge--although Fleming does achieve a noticeable softening effect, above all in her death scene. As the monk who tries to repress his very worldly feelings for Thaïs, Thomas Hampson clearly carries the seeds of doubt from his first scene; if anything, the contrast between his two selves isn't stark enough, and he brings too much vocal polish to the scenes where we should hear a John the Baptist in hair shirt. Still, Hampson's sensitivity, however reserved, elicits the crucial sense of compassion for Athanaël's predicament. As Nicias, the cultured lover of Thaïs, Giuseppe Sabbatini is excellent--their bittersweet farewell duet actually contains some of the best chemistry on the whole set. True, Massenet's score succumbs to passages of filler (for example, much of the ballet music) that aren't at the level of its more inspired lyrical stretches, but young conductor Yves Abel (making his Decca debut) captures its integral, supple beauty despite some roughness in transitions and an occasionally raw surface from the orchestra. Sound balances are less than ideal. An excellent booklet with full libretto is included. --Thomas May

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Customer reviews

review by: date: 2009-01-05 rating:
My new favorite opera!!!
Fantastic - I bought this recording to acquaint myself with Thais before seeing the Met in HD live broadcast (http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx) and have absolutely fallen in love with the story, the music, the singing, the arias, the duets... I could go on and on! The journey from earthly to divine love is fraught with both tender and intense emotion, and as I listen more and more I am drawn further and further in. And then to see Ms. Fleming perform it "live" on the big screen!!! She stated that this opera was written for her, and she speaks the truth. When I listen to this recording I am transported back into the story as I saw it on the screen... tremendous.

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review by: Björg Ingvarsdóttir bookworm date: 2007-09-28 rating:
Fleming in person
I bought the CDs on Thais after hearing it in Paris in April 2007.
I think Renee Fleming is incomparable.

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review by: La voce date: 2007-07-15 rating:
The magical voice of Renée Fleming
Well, all seems to have been stated about this recording - and very well,too, may I add, by some of the other reviewers. Fleming is truly magical in this role. This is probably one of her best recordings, or perhaps one that will appeal to more people. This role is so well suited to her voice and style of singing! Just listen to her opening lines: "C'est Thais, l'idole fragile qui vient pour la dernière fois..." Of course, you've got to like syrupy expressive singing. And she's the queen of syrup! And what about those outbursts of laughter? Glitter and be...
I have had the pleasure of performing with her in a concert version of this opera. The only thing better than listening to this recording is hearing and seeing her sing this role live. What an experience! Her high notes are much more brilliant live than they are on the recording. But even on this recording her phrasing and dramatic intensity are truly exemplary! Her range, velvety tone and jazz-like inflections make her performance truly memorable. The conductor at the performance was Sir Andrew Davis, whose conducting I prefer. Anyway, this is a must for anyone interested in this opera, in Massenet or in Fleming's voice. I think enough has been written about the others on this recording. I would have preferred Michele Pertusi in the role of Athanael, but Hampson does an excellent job. And of course there's the "Méditation"! Buy and enjoy..."éternellement"!

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review by: date: 2006-12-09 rating:
Listenable
Don't get me wrong: I love opera, but I usually can't stand to listen to opera at home on CD. I have to be in the theater, taking in the whole experience. This recording is different though. I can listen to this one at home. In fact, the thing that caused me to seek out this recording is that I heard it on the radio. A great experience.


review by: date: 2006-06-25 rating:
A welcome addition to Massenet....
Look, this production may not appeal to everyone, but it's welcome nonetheless. Fleming has a lush voice, which may not be exactly suited to the role (see the DVD, which is only fabulous, but without the stunning vocalizing of Fleming). My take on this is what could it hurt? What did Massenet have in mind? Is Hampson correct for the role? I have no idea, but I love this recording. And I gave it five stars because I saw no reason NOT to give it five stars considering there isn't much else and I'm including Sills.

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