CD1
Act I
01. Overture
00. Scene 1 Opening
00. Pas de cinq:
02. _ Introduction
03. _ Tarantella
04. _ Mazuetta
05. _ La Francaise
06. _ Bolero
07. _ Danse anglaise (Ecossaise)
08. _ Coda
09. Action
10. bacchanale des corsaires
00. Scene 2
11. Action
12. Pas des eventails
13. Action
14. Variation (for Mlle Grantzow, 1867)
15. Action

CD2
Act II
01. Pas des odalisques
02. Entree de Gulnare
03. Danse de Gulnare
04. Action

Act III
00. Scene 1
05. Action
00. Pas des fleurs (Delibes, 1867):
06. _ Valse de Naila (for Mlle Grantzow)
07. _ Andante
08. _ 1st variation (for Gulnare, Mlle Fioretti)
09. _ 2ns variation (for Medora, Mlle Grantzow)
10. _ Finale
11. Action
12. Scene 2
00. Scene 3
13. Storm and shipwreck

English Chamber Orchestra
Richard Bonynge - conductor

"Le Corsaire" was first presented in 1856 at the Theatre de l'Academie Imperiale de Musique in Paris. The ballet's choreography was the work of the great Balletmaster Joseph Mazilier, with music by Adolphe Adam..

In 1867 - especially for the Prima Ballerina Adele Grantzow, and in celebration of the Universal Exposition given in Paris - Mazilier came out of retirement to revive "Le Corsaire". For this revival the Balletmaster re-arranged much of the ballet, and added the famous 'Pas des fleurs' (known today as 'Le jardin anime') to the music of Leo Delibes. After Grantzow left Paris, the work was never again performed by the Parisian ballet.

The versions of "Le Corsaire" familiar to audiences today - primarily those of American Ballet Theatre and the Kirov/Mariinsky Ballet - have their roots in the many revivals of produced by Marius Petipa for the Imperial Ballet of St. Petersburg. By way of Petipa's revivals, Adam's score for "Le Corsaire" acquired a substantial number of additional music for various pas, variations, scenes, and incidental dances (by the time Petipa staged his final revival in 1899, the score included pieces from 10 composers aside from Adam).

Musically, the history of "Le Corsaire" can get rather confusing, and it doesn't help that the world's two principal productions of this ballet - American Ballet Theatre and the Kirov/Mariinsky Ballet respectively - present 2 almost totally different scores. The Kirov/Mariinsky Ballet's version Is erived from the balletmaster Pyotr Gusev and the ballet historian Yuri Slonimsky's 1955 production for the Maly Theatre in Leningrad, includes a score fashioned from the airs of Adolphe Adam's opera "Si J'etais Roi" and his ballet "La Jolie Fille du Gand", with the usual inclusion of Petipa's additional dances. American Ballet Theatre's version - being derived from the former Kirov artistic director Konstantin Sergeyev's 1973 version - is far more faithful to Petipa's productions, but is still somewhat of an abomination with regards to its obsurd characterizations and Corsaires transformed into ridiculous pirates à la Blackbeard or Captain Hook.

The manuscript utilized in this recording by Richard Bonynge was the original conductor's score used in Paris in 1867 for Mazilier's revival, and was obtained from the archives of the Paris Opera. Unfortunatly it does not include the later additions as added by Petipa (or his successors), but it does include the scene 'Le Jardin Anime' as originally composed by Leo Delibes. Most people are familiar with the Mariinsky version of the music for this scene, which is still presented in St. Petersburg and by most other companies in an orchestration by Cesare Pugni.

The music as presented in this recording is wonderful. Included is the Act I 'Pas de Cinq' of the National Dances (completely lost from every modern production to date); the elaborate 'Pas de Eventails' (another number that is lost) in which the lead character of Medora and a group of 16 ballerinas perform with fans to create a 'Peacock' effect; Adam's magnificent music for the 'Pas de Odalisques'; as is the 1867 additions of Delibes for the scene 'Le Jardin Anime'. Bonynge does a first rate job conducting the music.

In 2006 the Bavarian State Ballet presented a fantastic revival of "Le Corsaire" for which they made use of Adam's original score. The company also reconstructed 25 of Petipa's original dances from "Le Corsaire" as documented in the Stepanov method of choreographic notation from the Sergeyev Collection. In 2007 the Bolshoi Ballet staged an even more lavish revival of "Le Corsaire" for which they used nearly all of Adam's original score, restoring the mise-en-scene to its original form and also using the Sergeyev Collection to include Petipa's dances. Adam's original music for the 'Pas des Eventails' was deleted, and in its place the 'Grand pas' from Riccardo Drigo's score for Lev Ivanov's 1887 ballet "The Enchanted Forest" was used (I must say that Drigo's music is absolutely divine in every respect). Let us hope the production is filmed and released to DVD in the future, so that everyone can view what this ballet should be. --- MrLopez2681 "Obsessive archaeologist of the B... (USA)

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1. Ouverture-Act I
2. Act II
3. Act III

Chapelou - John Aler
Saint-Phar - John Aler
Le Marquis de Corcy - François Le Roux
Biju - Jean-Philippe Lafont
Alcindor - Jean-Philippe Lafont
Madeleine - June Anderson
Madame de Latour - June Anderson
Bourdon - Daniel Ottevaere
Rose - Balvina de Courcelles

Orchestre Philharmonique de Monte-Carlo
Thomas Fulton – conductor

Le postillon de Lonjumeau (The Coachman of Lonjumeau) is an opéra-comique in three acts by Adolphe Adam to a French libretto by 'Adolphe de Leuven' and 'Brunswick' (pen names of Adolphe von Ribbing and Léon Lévy).

The opera has become the most successful of Adam's works and the one by which he is best known outside his native France. The opera is known for the difficult aria 'Mes amis, écoutez l'histoire' which has been called a test for tenors because of the demanding high D, or D5, in the end of the aria.

The opera was premiered by the Opéra-Comique at the Salle de la Bourse in Paris on 13 October 1836. Performances followed in London at the St. James Theatre on 13 March 1837, and in New Orleans at the Théâtre d'Orléans on 19 April 1838.

Synopsis

Act 1

Prévost and Chollet as Madeleine and Chapelou

The newly married postilion, or coachman, (Chapelou) and his wife (Madeleine), an innkeeper, to ensure that their marriage will be a joyous one, decide to consult a clairvoyant, who predicts that things will not go smoothly in their marriage but does not state exactly what will occur nor when. Initially concerned, their thoughts are temporarily forgotten as they enjoy their wedding night. Several days into the marriage, the Marquis de Corcy (who is also the director of the Royal Paris Opera House) arrives at the inn that Madeleine owns and Chapelou works at. He is immediately smitten with Chapelou's wife, but doesn't say anything to her. Then he overhears her husband singing his ‘usual’ song with other guests at the inn, and is impressed with his beautiful voice. He decides to invite the young coachman to join the Marquis’ company, but they have to leave immediately. With excitement, Chapelou asks his friend, Bijou, to tell his wife where he has gone and what he plans to do. Chapelou and the Marquis then quickly depart for Paris, leaving Madeleine in a state of shock.

Act 2

Ten years later. By now Madeleine has come into an inheritance and is now known as Madame Latour, and Chapelou has become a star at the Paris Opera. After a performance, the Marquis holds a reception to which he has invited Madame Latour. As soon as they meet at the reception, Chapelou falls for the Madame's charms, not recognising the wife he left behind. He proposes, she accepts, and a wedding occurs.

Act 3

The Marquis has gone to inform the police and denounce this apparent act of bigamy. On the wedding night, Madeleine appears in her old peasant clothes and Chapelou recognises her. Then she transforms before his eyes into Madame Latour, the rich heiress. She reveals her deception to the Marquis, as he arrives with the police and declares to them her game - the couple have married twice and vow from that day on to love like good village people. This induces a hearty response from the chorus to provide a stirring finale.

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1. Act I: Ouverture
2. Act I: Il part ! Il est parti !
3. Act I: Ah ! voici les accords de la flute fidele
4. Act I: Tandis que tout sommeille						play
5. Act I: Je tremble et doute
6. Act I: Je reponds ! 'Jeune homme...'
7. Act I: Il se pourrait !
8. Act I: Vive la bouteille
9. Act I: Elle est partie !
10. Act I: Qui, la vie
11. Act I: Une galante affaire m'amene ici
12. Act I: Vous connaissez de ces femmes
13. Act I: Donc, je lui disais
14. Act I: Ah! la flute !
15. Act I: Ah ! vous dirai-je, maman
16. Act I: Charmant, charmant !
17. Act I: Qu'est-ce la ?
18. Act I: Entr'acte
19. Act II: En vain je me creuse la tete
20. Act II: Avec son petit air
21. Act II: Car la femme, sans cesse
22. Act II: Vous ici !
23. Act II: Dans vos regards
24. Act II: Dans une symphonie
25. Act II: Vraiment ! Je le sais bien.					play
26. Act II: Ah ! tremblez
27. Act II: vient a mon secours !
28. Act II: Bonjour, c'est moi

Don Belflor - Michel Trempont
Coraline - Sumi Jo
Tracolin - John Aler

Orchestra of Welsh National Opera
Richard Bonynge - conductor

Le toréador, ou L'accord parfait (The Toreador, or The Perfect Agreement) is an opéra comique in two acts by the French composer Adolphe Adam with a libretto by Thomas-Marie-François Sauvage. It was first performed at the Opéra-Comique, Paris on May 18, 1849. It was a huge success and the work regularly appeared in the repertoire of the Opéra-Comique until 1869. Adam made use of several familiar pieces of music in the score. The most famous number is a series of variations on Ah! vous dirai-je, maman (better known as the melody of Twinkle, twinkle, little star in the English-speaking world). The opera also quotes the aria Tandis que tout sommeille from Grétry's L'amant jaloux and Je brûlerai d'une flamme éternelle from the same composer's Le tableau parlant as well as popular folk tunes, including the Spanish fandango, cachucha and follia. In spite of this, there is little attempt to give the score local colour. The opera was originally intended to be a single act but was split in two to allow the soprano time to recover her breath in a taxing role. ---wiki

This delightful opéra-comique deserves to be incorporated to the standard repertoire. And there is not a better introduction to the work than this excellent recording. Richard Bonynge deserves praise for his interest in reviving these masterpieces of French light opera. The plot is funny and amusing and the music is sparkling. The cast is simply ideal. Sumi Jo positively shines once more with her virtuoso technique and engaging personality, even though she is sustituted by an actress for the spoken parts. John Aler is very idiomatic and is always involved and Michel Tremplont is a perfect basso buffo. The most memorable part of their performance is, of course "Ah vous dirai-je, maman". This scene was used as a solo showpiece by famous coloraturas of the past like Amelita Galli-Curci, but it is in its original setting, as a trio, when it is possible to appreciate Adam's ability to integrate words and music for an amusing effect. The use of the children's rhyme is the base for a double entendre between Coraline, Tracolin and Don Belflor, something that will be essential for the slighty amoral ending of the piece. The orchestra of the Welsh National Opera shines under the energetic conducting of Richard Bonynge. I hope that there will be more recordings by Sumi Jo of other works by Adam, Auber, Meyerbeer and others in the future! ---M. Ramos, amazon.com

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CD1
1. Giselle +: Act I: Introduction	2:32
2. Giselle +: Act I: Entree joyeuse des vendangeurs et vendangeuses 	1:36
3. Giselle +: Act I: Entree de Loys	1:33
4. Giselle +: Act I: Entree de Giselle	5:47
5. Giselle +: Act I: Retour de la vendange et valse 	7:03
6. Giselle +: Act I: La chasse (The Hunt)	8:46
7. Giselle +: Act I: Scene d'Hilarion	0:43	
8. Giselle +: Act I: Marche des vignerons 	3:15
9. Giselle +: Act I: Pas seul - Pas de deux des jeunes paysans	1:57	
10. Giselle +: Act I: Polacca	1:03
11. Giselle +: Act I: Andante	1:48
12. Giselle +: Act I: Pesante	0:43
13. Giselle +: Act I: Allegretto	0:37
14. Giselle +: Act I: Allegretto pesante	0:47	
15. Giselle +: Act I: Valse - Pas de vendanges	1:31
16. Giselle +: Act I: Andante	1:26	
17. Giselle +: Act I: Moderato	1:02
18. Giselle +: Act I: Allegro moderato	1:24
19. Giselle +: Act I: Allegro un peu loure 	2:32	
20. Giselle +: Act I: Galop general	3:10
21. Giselle +: Act I: Finale du 1er Acte et Scene de folie 9:41

CD2
1. Giselle +: Act II: Introduction, halte des chasseurs et apparition des feux follets 6:14	
2. Giselle +: Act II: Apparition de Myrthe et evocation magique	6:22	
3. Giselle +: Act II: Pas des premieres Wilis 	7:53	
4. Giselle +: Act II: Apparition de Giselle 	1:40
5. Giselle +: Act II: Entree des paysans 2:34
6. Giselle +: Act II: Entree du Prince et apparition de Giselle	10:02
7. Giselle +: Act II: Entree d'Hilarion, scene et fugue des Wilis - Grand pas de duex  5:21	
8. Giselle +: Act II: Adagio	5:36
9. Giselle +: Act II: Variation 1: Andante	0:51	
10. Giselle +: Act II: Variation 2: Andante moderato	0:37
11. Giselle +: Act II: Valse	0:52	
12. Giselle +: Act II: Ensemble des Wilis	1:59	
13. Giselle +: Act II: Finale	0:53	
14. Giselle +: Act II: Lever du soleil et arrivee de la cour 	4:02

Slovak Radio Symphony Orchestra Bratislava
Andrew Mogrelia – conductor

Giselle -- composed in 1841 -- was the first great ballet, and it is a marvel of charm and beauty. Later ballets by Delibes and Tchaikovsky are perhaps more sophisticated than Giselle, but they do not surpass it in beauty and appeal. Everyone who loves great ballet music -- or, indeed, beautiful music in any genre -- should get to know this enchanting masterpiece. Personally I've loved Giselle since I first heard excerpts from it on LP several decades ago, and I love the complete ballet, presented on this 2-CD set, even more. I suspect that Andrew Mogrelia shares my love for this very special masterpiece. If you're already a Giselle fan but don't yet have it on CD, please treat yourself to this bargain set. If you haven't yet heard this lovely work, but love beautiful music, please get Giselle

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Giselle: Alina Cojocaru
Count Albrecht: Johan Kobborg
Myrtha (Queen of the Wilis): Marianela Nuñez
Hilarion (a forester): Martin Harvey

The Royal Ballet
The Orchestra of the Royal Opera House
Choreographer: Marius Petipa
Conductor: Boris Gruzin

Recorded live at the Royal Opera House, Covent Garden, London in January 2006.

Giselle is the quintessential Romantic ballet. Its title role, one of the most technically demanding and emotionally challenging in the classical repertory, is here danced by Alina Cojocaru, partnered by Johan Kobborg as Count Albrecht. This tale of the transcendental power of love over death is evocatively portrayed through Peter Wright’s sensitive staging and John Macfarlane’s designs, which beautifully contrast the human and supernatural worlds. ---arkivmusic.com

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01. Farfadet- Ouverture
02. Farfadet – Pour Finir Gaiement
03. Farfadet – Ce Vieux Moulin Est Faix Express
04. Farfadet – Il Me Calitait Et Me Repatait       play
05. Farfadet – Personne En Bas Dans Le Moulin
06. Farfadet – Que La Peu Est Imbecile
07. Farfadet – Ah C’est De La Mage
08. Farfadet – Que Peu’Il Nous Ecrire
09. Chalet – Elle Est A Moi, C’est Ma Compagne
10. Chalet - Dans Ce Modeste Et Simple Asole
11. Chalet – Arretons-Nous Ici
12. Chalet – Dans Le Service De L’autrice         play 
13. Chalet – Pret A Quitter Ceux Que L’on Aime
14. Chalet – Il Faut Me Ceder Ta Maitresse
15. Chalet – Soutiens Mon Bra

Le Farfadet:
Laurette - Janine Capderou 
Babet - Lina Dachary 
Le Bailli - Joseph Peyron 
Bastien - Bernard Plantey 
Marcelin - Bernard Demigny 
Orcheste Lyrique de L'ORTF
Robert Benedetti, 1970

Le Chalet:
Daniel - Joseph Peyron 
Max - Stanislas Staskiewicz 
Bettly - Denise Boursijn 
Orcheste Lyrique de L'ORTF
Albert Wolff, 1965

Adolphe Charles Adam (ur. 24 lipca 1803 w Paryżu, zm. 3 maja 1856 tamże) – francuski kompozytor oper i baletów, krytyk muzyczny. Jego kolęda Cantique de Noël, znana bardziej pod angielskim tytułem O Holy Night, z 1847 zyskała międzynarodową sławę. Kolęda ta została pierwszym utworem muzycznym jaki został wyemitowany w radio. W wieku 20 lat pisał utwory dla paryskich wodewilów i występował w orkiestrze w Gymnase-Dramatique, gdzie później został kierownikiem chóru. Jak wielu ówczesnych kompozytorów utrzymywał się głównie z gry na organach. Adolphe Adam skomponował 39 oper i 14 baletów.

Opera komiczna Le Chalet (Chatka w Górach) powstała w 1834. Okazała się sporym wydarzeniem. Le Farfadet jest również operą komiczną, jednoaktową. Premiera miała miejsce w Paryżu w 1852 roku.

Adolphe Charles Adam (1803-1856) French composer and music critic. A prolific composer of operas, ballets vaudeville and incidental music. His works include 40 operas and 14 ballets. He is best known today for his Christmas carol “Minuit, chrétiens!”; (“O Holy Night”;) (1847).

Departing from the comique-opera style he had been using in his earlier works, he wrote Le chalet (1834) considered to be the first true French operetta with its light, frivolous style influenced by vaudeville music. Le Farfadet (1852) - opéra comique.

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CD 1

1. Prologue (Gullaume's Farm - House): No. 1
2. Prologue (Gullaume's Farm - House): No. 2
3. Prologue (Gullaume's Farm - House): Nos. 3, 4 and 5
4. Prologue (Gullaume's Farm - House): No. 6
5. Prologue (Gullaume's Farm - House): No. 7
6. Prologue (Gullaume's Farm - House): No. 8
7. Prologue (Gullaume's Farm - House): No. 9
8. Prologue (Gullaume's Farm - House): No. 10
9. Act I - Tableau 1 (The Countryside): No. 1
10. Act I - Tableau 1 (The Countryside): No. 2 Pas de cinq
11. Act I - Tableau 1 (The Countryside): No. 3
12. Act I - Tableau 1 (The Countryside): No. 4
13. Act I - Tableau 1 (The Countryside): No. 5
14. Act I - Tableau 1 (The Countryside): No. 6
15. Act I - Tableau 1 (The Countryside): No. 7
16. Act I - Tableau 1 (The Countryside): No. 8
17. Act I - Tableau 1 (The Countryside): No. 9 Divertissement
18. Act I - Tableau 1 (The Countryside): No. 9a (No. 10) Pas de cinq
19. Act I - Tableau 1 (The Countryside): No. 9b (No. 11)
20. Act I - Tableau 1 (The Countryside): No. 9c (No. 12) M. Petipa
21. Act I - Tableau 1 (The Countryside): No. 9d (No. 13)
22. Act I - Tableau 1 (The Countryside): No. 10 (No. 14) Après le divertissement

CD 2

1. Act I - Tableau 2 (Ysaure's Chamber): No. 1 Marche olintaine (Nos. 1, 2 and 3)
2. Act I - Tableau 2 (Ysaure's Chamber): No. 2 (No. 4)
3. Act I - Tableau 2 (Ysaure's Chamber): No. 3 (No. 5)
4. Act I - Tableau 2 (Ysaure's Chamber): No. 4 (No. 6)
5. Act I - Tableau 2 (Ysaure's Chamber): No. 5 (No. 7)
6. Act I - Tableau 2 (Ysaure's Chamber): Entr'acte
7. Act II - Tableau I (A Wooded Park): No. 1
8. Act II - Tableau I (A Wooded Park): No. 2
9. Act II - Tableau I (A Wooded Park): No. 3
10. Act II - Tableau I (A Wooded Park): No. 4
11. Act II - Tableau I (A Wooded Park): No. 4a (No. 5)
12. Act II - Tableau I (A Wooded Park): No. 4b (No. 6)
13. Act II - Tableau I (A Wooded Park): No. 4c (No. 7) Mme Taglioni (The Pink Fairy)
14. Act II - Tableau I (A Wooded Park): No. 4d (No. 8) Mme Taglioni (Flute Variation)
15. Act II - Tableau I (A Wooded Park): No. 4e (No. 9) Mlle Carlotta Grisi (Ysaure)
16. Act II - Tableau I (A Wooded Park): No. 5
17. Act II - Tableau 2 (A Deep Cavern): No. 1 Mouvement de Valse
18. Act II - Tableau 2 (A Deep Cavern): No. 2
19. Act II - Tableau 2 (A Deep Cavern): No. 3
20. Act II - Tableau 3 & 4 (The Fairies' Judgement and Paradise): No. 4

Queensland Symphony Orchestra
Andrew Mogrelia - conductor

The title will mean little to most people. Few of us have had the privilege of being exposed to many of Adam's fine theatre works and few performances or recordings have existed. Giselle is the obvious exception - a ballet that still enjoys a place in the international repertoire.

Adolphe Adam always considered his music to sparkle and be comprehensible to the listener. In his own words. … My only aim is to write music which is transparent, easy to understand and pleasing to the public."

He received his musical training at the Paris Conservatoire, initially as an organ scholar, having been prepared by his pianist and composer father. Boieldieu communicated a love for the theatre to Adam and pointed out the lucrative returns that composers such as he could receive. Adam set out on a musical career that resulted in around forty lyric works and some twenty vaudevilles, ballets and opéra-comiques. He is best remembered for his opéra-comiques: Le Postillon de Longjumeau and Si j'étais Roi; and the ballet, Giselle. When Giselle was composed in 1841 it became a lasting success, still appearing in today's international repertoire. He went on to write the ballet, La jolie fille de Gand (1842) which has been recorded on Marco Polo 8.223772-3. La Filleule des Fées followed in 1849.

La Filleule des fées is a full-length ballet which lasts for two hours and five minutes. The story calls for complex staging which must have been difficult to achieve. If staged well this would have added to the spectacle of the piece. Its stage directions call for a cottage wall which becomes invisible when a wand is waved, a mirror which grows in size in front of the observer's eyes, words written in fire appear in a black cloud, mist which envelops and recedes, and an on-stage hut which disappears then reappears on a distant hill. Could it be that the expensive staging has been the reason why the work has not been revived? Clearly, such trickery would lend itself ideally to the medium of television. Exposure of the superb score in this recording could well stimulate such a revival.

The work was based on a book by Jules-Henri Vernoy, Marquis de St. Georges and Perrot, and was first staged at the Paris Opéra in October 1849. The notes tell us that the ballet's settings, with décor by Cambon, caused a sensation through its innovative use of electric lighting and fountains.

In its fantasy story, the prologue opens with a newly baptised child, Ysaure, visited by two old women who beg for hospitality which is granted. After supper when all have retired the two old women transform into good fairies who secretly bestow gifts of beauty on the child. A third old woman who was earlier turned away now appears and transforms into a black evil fairy who declares she will keep her gift until the child's fifteenth year.

Act I, set in the countryside, shows the villagers dancing and preparing for the spring festival. Ysaure, now fifteen, goes indoors to dress for the celebration while a village boy who has been admiring her is left outside. The black fairy appears and promises to provide the boy with happiness if he will kiss her. They leave together and a young huntsman arrives: he turns out to be a Prince. The two old women now appear, begging, and on receipt of gold tell him he will fall in love, and point to Ysaure's hut. Both the boy and huntsman are separately urged by the evil and good fairies respectively to pursue their love for Ysaure, which they do behind each other's backs. The Prince wins her affections and asks for her hand in marriage, which she accepts. The black fairy now gives her present, telling the other fairies they have made her so beautiful that any man who looks at her will go out of his mind. The girl realises she must keep her face covered from the Prince to avoid this and runs to hide. An Entr'acte links Acts I & II

Act II takes place in a woodland park with lake and fountain, and statues dotted around. The statues come to life and Ysaure enters, conveyed by a swan. As the sun rises she wishes to see the Prince she has hidden her face from and finds him sleeping. The village boy returns under the black fairy's spell and on touching Ysaure tries to turn her into a statue. However, one of the good fairies has managed to grasp the girl's arm and breaks the spell. The fairies decide to turn the Prince blind so that he can be comforted by his beloved without going mad. Though the black fairy has been avenged, she relents to the wishes of Ysaure and the good fairies if the prince can recognise Ysaure among all the girls. This happens and clouds of mist disperse to reveal fairyland and the marriage now takes place.

This music was composed during a period when Adam was at the height of his creative talents. This is no second-rate Adam: the music is uplifting and quite delightful, containing charming melodies with much bright orchestral colour. Adam is not short of melodic ideas and these melt like chocolate into a choreographic flow which makes most enjoyable listening. At times I wonder if I can detect Verdi and Rossini both of whom must have made some impression on Adam. Sample CD1 tks 14, 21, 22 or CD2 tks 4, 5.

The composer gives all sections of the orchestra opportunity to display their skills and this they do admirably. The strings are particularly crisp (so vital in ballet music) and the brass modulate sensitively. The wind and strings sound perfect in the reverberation provided. Where knocking effects are cued, care is taken to make sure this does not interrupt the pianissimo figures, and the producers of this set did well to dispense with the thunder effects.

The notes give good background notes on Adam and a full and detailed synopsis takes the listener through the ballet's development track by track. The booklet by Keith Anderson is written in English, French and German.

This is an issue Marco Polo must be proud of and makes me now want to hear La jolie fille de Gand on Marco Polo 8.223772-3. ---Raymond Walker, musicweb-international.com

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