Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Here then is a revival of a splendid confection dreamed up by Alexandre Luigini, the composer of the Ballet égyptien—one of those pieces which everyone knows upon hearing but cannot quite put a name to. Luigini was born in France of Italian origin and while still in his teens conducted and composed for several French ballet companies. In 1877, he was appointed conductor of the Grand Theatre Orchestra at Lyons, and in that same year Samson and Delilah received its first performance under Liszt’s sponsorship at Weimar, although Paris had to wait until 1891 before hearing what was to become the most popular of Saint-Saëns’s thirteen operas. Luigini’s Grand Fantasy encapsulates some of the finest pages of the opera without in any way being inhibited by the original sequence of the plot: it launches straight into the finale where Delilah and her fellow-Philistines are making sacrifices in the Temple of Dagon. A brief link leads us into Delilah’s seductive Act 1 aria When Twilight is Falling, played here on the cornet, an instrument that was much in demand for solo numbers in the popular concerts of Luigini’s day. The brass section is retained for the Act 1 Spring Chorus, and then the listener is lulled into a state of anticipation with a familiar oboe cadenza. The unwary will think that this heralds the celebrated Bacchanale, but Luigini is just teasing: what we actually get is Samson’s stentorian aria Pray to God, also from Act 1. This gives way to the music of the Love Duet, after which the massed violins blossom forth with Softly Wakes My Heart, perhaps Saint-Saëns’s best-known and most moving operatic melody. It remains only for Luigini to concoct a stirring ending—he chooses Samson’s exhortation Let Us Rise Once Again from Act 1, bringing what can only be described as a 'fun piece' to a rousing conclusion.
It should be noted that owners of ancient 78s might just have an old Regal recording of this music on which Percy Pitt conducted the BBC Wireless Orchestra. However, that was a heavily abridged performance, tailored no doubt for the four-minute sides. This version is absolutely complete, justifying 'World Premiere Recording' status!
from notes by Edward Johnson © 2019
|Saint-Saëns: Africa & other orchestral works|
One of a pair of distinctive Saint-Saëns recordings, this album made with the London Philharmonic Orchestra features several rarely heard works as well as the premiere recording of Saint-Saëns’s own arrangement for tenor and orchestra of his iconi ...» More