Ask an Englishman or woman what they understand by French Romanticism and they’ll probably say Brigitte Bardot (younger readers, make that Audrey Tautou). But in music it means Gounod, Berlioz, Lalo, Massenet – along with a host of lesser 19th-century composers who have virtually disappeared from concert schedules, but are being thrown a lifeline in the form of Palazzetto Bru Zane: a Renaissance pile in a Venetian backstreet that houses a foundation of the same name, comprising a recital hall with painted ceilings, a brigade of musicologists and a recording/publishing initiative that issues books, CDs and DVDs with high production values.
All the Palazzetto’s efforts are devoted to restoring French Romanticism to its former status in the history of music. And it’s currently running a festival devoted to the works of Benjamin Godard, a composer you’re entitled to know nothing about because even the French only remember him these days for a single piece: the berceuse from his opera Jocelyn.
Neglected figures tend, in my experience, to be neglected for good reason; so I went out to this festival the other weekend full of scepticism. But I came back seriously impressed. Godard proved both a viable and distinctive voice: ardent, impassioned, somewhere between Massenet and Fauré (two contemporary figures who outlived and overshadowed him) but with a freshness that surpasses standard-form French salon music.
What I heard included a string quartet played by the celebrated Quatuor Mosaiques, and a revelatory programme of songs, arias and duets given by three superb French artists: soprano Olivia Doray, pianist Tristan Raes and baritone Cyrille Dubois.
To me, the music was completely new, as were the singers (though they’re well established on home territory in France). And to say I learned something here would be an understatement. In an age of digital communication, instant broadcasting and (not least) EasyJet, the world seems small, its cultural borders open and accessible. But music is more local than we think, with hidden riches.
Palazzetto Bru Zane has, apparently, a lot more Godards up its sleeve, and is about to introduce a few of them to the British Isles. The Wexford Festival in Ireland will this year be staging Herculanum, an opera by Félicien David which the Palazzetto has unearthed, edited and published. And negotiations are under way for a Godard opera called Dante (based on the life/work of the poet) to get its UK premiere at one of the leading country-house opera festivals in 2017. I’d say that was good news. Politically we may be less receptive these days to what’s happening in Europe. Culturally, though, we ought to keep our ears alert. What happens out in Venice isn’t always death. In this case, it’s rebirth.
Areas of Catholic Herald business are still recovering post-pandemic.
However, we are reaching out to the Catholic community and readership, that has been so loyal to the Catholic Herald. Please join us on our 135 year mission by supporting us.
We are raising £250,000 to safeguard the Herald as a world-leading voice in Catholic journalism and teaching.
We have been a bold and influential voice in the church since 1888, standing up for traditional Catholic culture and values. Please consider donating.