Orchestre Philharmonique Royal de Liège; Hungarian National Choir/Gergely Madaras et al
Fuga Libera FUG817 117:47 mins (2 discs)
This is why he was called ‘Pater Seraphicus’. Composed across a decade and requiring eight soloists, choir and orchestra, Les Béatitudes is the two-hour zenith of Franck’s sacred expressions. Nonetheless, as is clear from the vigorously restless opening of the first béatitude, this is not the purely assuaging work that might be expected from an oratorio about the Sermon on the Mount. Each of Christ’s eight pronouncements is preceded by a challenging exploration of the human need it addresses. The Angel of Death and Satan make appearances, and are duly vanquished, along with the Mater Dolorosa, peacemakers, a panoply of mourning characters, to name but a few.
The text may be a period piece, but Franck’s glorious music is timeless. Lacking the narrative arc of conventional oratorios, the handful of previous recordings capture the contemplative essence of Les Béatitudes, but underplay its spiritual drama. This incisive newcomer, taken live from bicentenary performances in Franck’s birthplace, Liège, manages both. Rich-voiced bass Yorck Felix Speer’s wayward French aside, the soloists are generally strong, notably baritone David Bižić’s authoritative yet compassionate voice of Christ.
Bass Patrick Bolleire admirably characterises diverse roles, from a ‘celestial voice’ to an imposing Satan, while sublime soprano Anne-Catherine Gillet is similarly versatile, especially as a profoundly moving grieving wife. The Orchestre Philharmonique Royal de Liège are superb, while the Hungarian National Choir adroitly reflects the shifting moods. Plaudits go to conductor Gergely Madaras for marshalling the vast forces to create a vivid performance that is a clear first choice in this marvellous work.