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SALVADOR DALI & IGOR WAKHEVITCH: ÊTRE DIEU

Igor Wakhévitch

Progressive Electronic


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Igor Wakhévitch Salvador Dali & Igor Wakhevitch: Être Dieu album cover
2.60 | 9 ratings | 2 reviews | 0% 5 stars

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Studio Album, released in 1974

Songs / Tracks Listing

Disc I
1. Oberture Et Première Entrée (22:12)
2. Deuxième Entrée Ou La Lutte Avec L'Ange (22:12)
Disc II
3. Troisième Entrée Et Première Sortie (24:25)
4. Le Rêve Passe (23:33)
Disc III
5. Quatrième Entrée Ou La Profession De Foi (27:42)
6. Final Et Seconde Sortie (25:00)

Total time 145:04

Line-up / Musicians

- Igor Wakhévitch / synth, composer
AND
- Salvador Dalí / voice, author

With:
- Jean Pierre Castelain / guitar
- Jean-Jacques Fletty / guitar
- Jean-Luc Bentolila / e-piano
- Michel Ripoche / e-violin
- Didier Batard / bass
- Sylvio Gualda / percussion
- Francois Auger / drums
- Eve Brenner / soprano vocals
- Raymond Gérôme / voice
- Delphine Seyrig / voice
- Alain Cuny / voice
- Catherine Allegret / voice
- Didier Haudepin / voice
- Ensemble Polyphonique De L'O.R.T.F. / orchestra & choir
- Boris de Vinogradow / conductor

Releases information

Title translates as "To Be God" ; Sub-titled "Opera-Poem"; Recorded in 1974

Artwork: Salvador Dalí

3xLP DCD ‎- ED-50.001-3 (1989, Spain)

3xCD DCD ‎- DCD-50.001-3 (1989, Spain)
3xCD Eurostar ‎- 39820062 (1992, Germany) New cover
3xCD DCD ‎- CDV-30003-PCK (2004, Spain)

Thanks to Ricochet for the addition
and to Quinino for the last updates
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IGOR WAKHÉVITCH Salvador Dali & Igor Wakhevitch: Être Dieu ratings distribution


2.60
(9 ratings)
Essential: a masterpiece of progressive rock music(0%)
0%
Excellent addition to any prog rock music collection(22%)
22%
Good, but non-essential (67%)
67%
Collectors/fans only (0%)
0%
Poor. Only for completionists (11%)
11%

IGOR WAKHÉVITCH Salvador Dali & Igor Wakhevitch: Être Dieu reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by philippe
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Igor Wakhevitch's score for Salvador Dali's audio visual « opera poème » (initialy written in 1927 but recorded in 1974). This is an obsessional, decadent, surrealist, provocative, grotesque, mystical, erotic musical comedy with Salvador Dali narratives, improvisations (in French). The music perfectly serves Dali and others actors' voices with a medley of strange synthesiser loops, creepy lysergic ambiences, expressionist string orchestra arrengements, percussive abstractions. This is clearly a visual work for the ears and gorgeously impregnated of mental pictures and dreamlike suggestions. An intriguing, ambitious audiovisual exhibition that remains really avant gardist with many ideas and a different atmosphere for each scene. Not a progressive rock classic but a historical phenomenon with a rather unique eccentric abstract musical painting
Review by Epignosis
SPECIAL COLLABORATOR Eclectic Prog Team
1 stars It is rare for someone to be a virtuoso in more than one field. Salvador Dalí is perhaps my favorite painter, but his branching out into the audio world is bizarre in an unwelcome way. Perhaps someone fluent in French could appreciate the experience better, but as an album, Être Dieu sends me to sleep. More than that- this may be the most monotonous thing I've ever forced myself to sit through: Recommended for those who want to hear a man talk in French for a very long time.

"Ouvertüre und Erster Auftritt" Thunderous narration and windy squalls compete with crashes and low synthesizer lead. An ominous choir enters. After a spell of narration, it sounds like extraterrestrials are firing lasers in an operating factory. This opus also contains dark orchestral movements, splashes of cymbals, and shrill feminine vocals.

"Zweiter Auftritt oder Kampf mit dem Engel" Bizarre percussion and dramatic speaking opens this second part. A lot of it is barely audible. Vocal passages are extremely eccentric. Operatic singing and strings make up the end.

"Dritter Auftritt und Erster Abgang" Menacing strings and the sound of a cockerel underscore a foreboding voice. Clucking continues. One might as well be listening to a sermon in barnyard. After the seventeen mark is the first trace of honest-to-god music. It's rock, and it's good! It is a stark and welcome contrast from the tedium to which the past hour was devoted. It is a shame that it goes away in favor of more talk, though eventually a shadowy organ arrives.

"Im Traum" This is a cut from someone's Halloween mix tape, complete with gales and moaning people. And it has dungeon sounds. I think. The music (?) morphs into something pleasantly cinematic halfway through.

"Vierter Auftritt oder Das Glaubensbekenntnis" Sounding like something from a made-for-TV fantasy movie, this has exotic chants and unusual sibilating. Arguing (I think) comes later. More talk (and more talk) follows. A breezy bit of nonsense takes up after a while. Then there's the circus music with the blurting of a word I don't know. Then footsteps. Then more talk. Then quiet.

"Finale und Zweiter Abgang" A thick choir opens the final movement. Much of this consists of distant strings. Piano bashing ensues. There are further cinematic qualities that represent one of the rare high points of this nearly three hour drudgery.

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