ACT I

  1. 1) “Mon coursier hors d’haleine”

    7.11

  2. 2) “All-powerful Queen of Beauty and ruler of my willing heart”

    1.44

  3. 3) “They are always with me: the unbounded waiting, the odor of blood on steel, the terrible sound”

    8.09

  4. 4) “My wife was always hard to please”

    2.17

  5. 5) “Oh no. Here we go again!!”

    1.39

  6. 6) “They wish they could kill me”

    8.43

  7. 7) “Bravo, Beaumarchais! Brilliant!” - “Then why are you weeping, your Majesty?”

    2.12

  8. 8) “Magic! It is Paris, the autumn of ‘93”

    2.52

  9. 9) “And with the one million pounds, grant Her Majesty a safe refuge in the New World”

    3.51

  10. 10) “Fool! Idiot! Moron! You forgot where Almaviva plans to sell the jewels?”

    1.12

  11. 11) “I can’t wait to betray Almaviva”

    2.20

  12. 12) “Oh, the lion may roar and the eagle may soar.”

    3.58

  13. 13) “I remember, Master, I remember!”

    1.18

  14. 14) "Poor Florestine, I pity her."

    1.59

  15. 15) “New Scene: Rosina’s boudoir. They say New York is a lively town”

    2.09

  16. 16) “Now we go back in time” - ‘Cherubino, Cherubino’

    0.48

  17. 17) "Look at the green here in the glade"

    7.33

  18. 18) “No. I’ve had enough. I see what’s happening here”

    2.26

  19. 19) “Selamünaleyküm {Welcome!}”

    4.02

  20. 20) “His Excellency, the English Ambassador”

    2.36

  21. 21) “I am in a valley and you are in a valley”

    3.37

  22. 22) “Ya omri. Limatha hajartani?”

    3.00

  23. 23) “Tafaddaloo marhabun bikoom” - “Shall we?”

    5.07

ACT II

  1. 1) “Hurry, hurry... It’s late! The second act is beginning!”

    3.01

  2. 2) "Watch. Now Figaro comes back"

    2.21

  3. 3) “Wait!... Figaro was supposed to return the necklace”

    5.12

  4. 4) "Damn that Figaro. He's your husband"

    1.36

  5. 5) "As summer brings a wistful breeze"

    3.05

  6. 6) “And now I must go" - "Bless you, Madam, bless you"

    1.24

  7. 7) "What is happening?"

    1.55

  8. 8) "Antoinette, we want your head!" - "Order Order!"

    0.54

  9. 9) “Marie Antoinette of Lorraine and Austria"

    6.38

  10. 10) “Monarchy. Revolution. It’s all the same to me” - “Women of Paris, listen!”

    5.46

  11. 11) "Welcome, Madeleine, welcome"

    3.09

  12. 12) "Remember the chestnut trees in the gardens of the Tuileries?"

    3.03

  13. 13) “I hope I’m not too late for your party”

    5.20

  14. 14) Interlude

    3.01

  15. 15) “I am very well, my dear Marquis”

    4.05

  16. 16) "O God of love, O Lord of light"

    7.06

  17. 17) "We are finished" - "Farewell, my faithful friend"

    3.09

  18. 18) "Look, her breathing is diminished"

    3.12

  19. 19) Goodbye, Figaro. Goodbye, Beaumarchais"

    1.59

  20. 20) "No, Beaumarchais. It is as it should have been. Once I was a golden bird"

    5.01

  21. 21) "Come, Antonia"

    3.29

CD information

Commissioned by the Metropolitan Opera to celebrate its 100th anniversary, John Corigliano’s The Ghost of Versailles received its premiere at the Met in 1991, twelve years after it had been commissioned and eight years past the centennial season for which it had first been envisioned. Nonetheless, it was an instant success. Because of the unique situation, a large cast and extravagant orchestral forces were made available, but aside from that specific context, both John Corigliano and librettist William Hoffman conceived of Ghosts as a work of music theater that celebrates and even takes as one of its principal themes the artistic power of opera: it puts into use lavish operatic resources precisely to introduce a contemporary audience to grand opera. More particularly, a ”grand opera buffa” is what John Corigliano decided to create, to combine his love for opera buffa, with the requirements of a grand opera house, which is the Met.

The success of Ghosts resulted in many performances throughout the North-American continent in the 25 years to follow, one of which took place in February 2015 at the LA Opera, to great critical acclaim.

“It's comic and serious, entertaining and erudite, silly and thoughtful, emotional and mysterious, harrowing and uplifting, intimate and over-the-top — and the more times you see it, the more you'll find in it and the more you'll get out of it.” -Los Angeles Times

Conducted by James Conlon, the production was recorded live by the renowned Soundmirror recording company and is released on a splendid 2-SACD album as part of PENTATONE’s newly launched American Opera Series.

“The artists of Los Angeles Opera’s 2014 production made as compelling a case for The Ghosts of Versailles as I heard on its first night at the MET in 1991. To have that performance preserved in a recording of this quality is, for this composer, a dream come true.” - John Corigliano

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