Franz Liszt - Don Sanche, ou Le château d’amour, S.1 [Full opera] 

0:00 - Ouverture, S.1/0
7:08 - Chœur: ‘Venez, venez’, S.1/1
11:17 - Récitatif, S.1/1a
12:07 - Air: ‘Aimer, aimer, voilà toute ma gloire’, S.1/2
15:43 - Récitatif, S.1/2a
16:10 - Chœur: ‘Beau chevalier, va chercher une amie’, S.1/3
17:43 - Récitatif, S.1/3a
21:18 - Air: ‘Transports jaloux’, S.1/4
25:31 - Récitatif, S.1/4a
26:05 - Air: ‘Esprit de ces déserts’, S.1/5
28:27 - Récitatif, S.1/5a
29:02 - Introduction (Orage) et Chœur: ‘Quel pouvoir a soudain déchainé les tempêtes’, S.1/6
30:44 - Récitatif, S.1/6a
32:16 - Air: ‘C’est ici le château d’amour’, S.1/7
34:39 - Récitatif, S.1/7a
37:05 - Air: ‘Non, aux volontés des Dieux’, S.1/8
39:57 - Récitatif, S.1/8a
41:35 - Trio: ‘Entendez-vous gronder l’orage’, S.1/9
45:42 - Récitatif, S.1/9a
47:23 - Air: ‘Repose en paix’, S.1/10
50:57 - Introduction du ballet, S.1/11
51:58 - Air et chœur (avec le ballet): ‘Brillant asile’, S.1/12
56:36 - Danse, S.1/13
59:00 - Danse, S.1/14
1:04:06 - Chœur (et Récitatif): ‘Romualde a touché ces bords’, S.1/15
1:05:38 - Air: ‘Vainement vous voulez me fuir’, S.1/16
1:08:57 - Récitatif, S.1/16a
1:09:35 - Duo en chœur: ‘Tremble, tremble’, S.1/17
1:11:02 - Récitatif, S.1/17a
1:11:42 - Prière: ‘Roi de ces bords’, S.1/18
1:16:32 - Récitatif, S.1/18a
1:20:03 - Marche en chœur: ‘Il est tombé le noble preux’, S.1/19
1:23:21 - Récitatif, S.1/19a
1:26:13 - Duo: ‘Recevez nos tendres serments’, S.1/20
1:28:34 - Chœur: ‘Honneur, honneur’, S.1/21
This opera was Liszt's first substantial composition of any sort, and almost the earliest surviving work from his pen. "His pen" must, however, be taken cautiously, for it seems very likely that Paër, and perhaps Reicha and Kreutzer had a hand, not just in the orchestration, but even in the general layout of the piece. That said, the opera is simply a remarkably professional work for any young composer, worthy of comparison with Mozart's Lucia Silla if not with the earliest products of Mendelssohn. The influences of Rossini and Gluck, amongst others, are plain, but their examples have been exceedingly well digested.
The libretto afforded the young composer many opportunities to flex his musical muscles, but is really rather a shoddy piece of work, and the plot is quite preposterous: The magician Alidor presides over the castle of love. Don Sanche is suicidal because he may not enter since he loves but is not loved in return. Elzire, the object of his love, is affianced to the Prince of Navarre, whom she does not love. She arrives at the castle in search of shelter, thanks to some inclement weather organised by Alidor, but cannot meet the conditions of entry. A curious conversation takes place between her and Don Sanche, via her confidante, Zelis. A certain Romualde appears, with the intention of kidnapping Elzire, who at least shows some sympathy for Don Sanche as he fights to save her. Don Sanche is fatally wounded. Elzire abandons the prospect of the a royal wedding to save him, and agrees to enter the castle. Romualde then reveals himself to be Alidor, Don Sanche is miraculously cured, and everyone goes home happy.
There was a pirate recording of the London production of the opera, but it was far surpassed in every way by the Hungaroton recording on two compact discs SLPD 12744/5. A vocal score was published by Ariel in England in connection with the 1977 festival, but does not appear ever to have been on sale to the general public. The original orchestral score [unpublished, and in a copyist's hand] remains in the library of the Paris Opera. Apart from a splendid article by Chris de Souza for The Listener [1977], there is virtually no bibliographical material relating to this work (except for the occasional paragraph in general Liszt studies, the best of which currently available is Derek Watson's volume in the Dent Master Musicians series). (Leslie Howard)
Don Sanche: Gérard Garino (tenor)
Page: Katalin Farkas (soprano)
Elzire: Júlia Hamari (mezzo-soprano)
Zélis: Ildikó Komlósi (mezzo-soprano)
Alidor: István Gáti (baritone)
Hungarian Radio and Television Chorus, Hungarian State Opera Orchestra, Tamás Pál (conductor)
Apparently, the full score Tamás Pál used was prepared separately from the score used in the London production. As a result, the performance deviates from the vocal score in several places. I have included Minkyu Kim's transcription of these passages; all credit for this video goes to him.

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