Pres De Paris

1. Gavottes: De Trilport/A Fublaines

2. Dame Lombarde

3. J'Ai Fait une Maitresse

4. Town That I Loved So Well

5. Lac des Abbesses

6. Sunday's Hornpipe

7. Lady de Nantes

8. Jigs: Merrily Kissed the Quaker Cunla

9. Prés de Paris/Reels

10. One Morning in May

Pres De Paris,Pierre Bensusan,Rounder Select,Chamber Jazz,Ethnic Fusion,New Age / Meditation,Pop,Solo Instrumental

Average customer rating:

The Greatest By Far
Absolutely the Best Carmen
No, please
L'amour est un oiseau rebelle

Bizet: Carmen [Highlights]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Bach - Mass in B minor / Argenta, Nichols, Chance, Stafford, Milner, W. Evans, Gardiner
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Saint-Saëns: Symphony No.3/Debussy: La Mer/Ibert: Escales

ASIN: B000001G52
Release Date: 1990-10-25

Tracks:

Carmen: Prelude
Carmen: Act 1: Sur la place (Micaela)
Carmen: Act 1: Avec la garde montante
Carmen: Act 1: L'amour est un oiseau rebelle (Carmen)
Carmen: Act 1: Parle-moi de ma mere (Don Jose, Micaela)
Carmen: Act 1: Pres des remparts de Seville (Carmen, Don Jose)
Carmen: Act 2: Les tringles des sistres tintaient (Carmen)
Carmen: Act 2: Dialogue
Carmen: Act 2: Vivat! vivat le Torero! (Carmen)
Carmen: Act 2: Votre toast, je peux vous le rendre (Escamillo, Carmen)
Carmen: Act 2: La fleur que tu m'avais jetee (Don Jose)
Carmen: Act 3: En vain, pour eviter les reponses ameres - Parlez encore, parlez, mes belles (Carmen)
Carmen: Act 3: A dos cuartos!
Carmen: Act 3: (musique de transition)
Carmen: Act 3: C'est toi! - C'est moi! (Carmen, Don Jose)

Customer Reviews:

The Greatest By Far.......2006-03-09

Agnes Baltsa [Carmen] ** José Carreras [Don José] ** José van Dam (baritone) [Escamillo] ** Katia Ricciarelli [Micaëla] ** Christine Barbaux (soprano) [Frasquita] ** Jane Berbié (soprano) [Mercédès] ** Alexander Malta (bass) [Zuniga] ** Mikael Melbye (baritone) [Moralès] ** Gino Quilico (baritone) [Le Dancaïr] ** Heinz Zednik (tenor) [Le Remendado] ** Michel Marinpouille (tenor) [Andrès] ** Berlin Philharmonic ** Herbert von Karajan (conductor]

There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.

Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.

Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.

From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.

Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.

Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.

Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.

Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.

Absolutely the Best Carmen.......2004-12-14

This CD is not only for opera lovers, but for anyone with an appreciation of classic voice music. I have seen productions of Carmen the world over, in Paris, in Vienna, multiple times at the Met in New York and many local companies. None has come close to the perfection of the voices on this recording. The emotion and quality of L'amour est un oiseau rebelle, one of the most recognized arias in all of opera, is unsurpassed. The gypsy dance which begins act 2 (Les tringles des sistres tintaient) is rich with fevor and lust. The music leaps off the CD and provides excellent insight into the intensity of this work.

This CD is for everyone, from the novice to the expert, and will be appreciated by all. It is the best opera recording I have heard and has stood the test of time. This should be a required addition to the collection of anyone with an appreciation of fine music.

No, please.......2000-06-10

This is an surprisingly boring recording, especially when looking at the star-cast, of one of the most enjoyable operas ever. I think the greatest problem with it lies in Karajans conducting.

The kindest thing I can come up with about this highlights recording is just the fact that it's a highlights edition - you don't have to listen to the whole debacle. Karajan has done a much, much better recording for RCA (Price, Corelli & Freni), where he doesn't suffocate his singers in an unengaging search for nothing but beauty. This search makes me lose my hair, and for example disturbes much of Carmen's music. Carreras here is not even close to the vocal prime he was in ten years earlier. His voice surely is soft and beautiful in the more quite parts, but he avoids using it to full power, even when called for, and his performance therefor gets rather boring. Baltsa probably would have done much better if she'd been supported instead of opposed by Karajan. Van Dam is definately the best of the cast in the role of Escamillo.

My very favorite of Carmen is the Beecham (de los Angeles, Gedda on EMI) set. You can also try a highlight of either Karajan (RCA - Price, Corelli) or Abbado (DG - Berganza, Domingo), which both give different but very good accounts of Carmen - use the Amazon.com possibility to listen to samples of these version to find out which one you prefer.

L'amour est un oiseau rebelle.......2000-06-09

This highlights CD happilly dismisses most of the dialogues and has an hour-plus of great music. The complete version is also available on amazon.com. Maestro Von Karajan achieves his trademark perfection with the Berliners and with the cast of ideal singers for Biset's masterpiece. Greek mezzo-soprano Agnes Baltsa is simultaneously playful, witty, self-indulgent, and, for all purposes, dangerous Carmen. She has a very long vocal phrase and plenty of power; listen to fiery rendition of "Les tringles des sistres tintailent"! Jose Carreras shows Don Jose's character development extremely well, from ardent and passionate, ready-to-leave-everything young soldier to a man obsessed; gradually you begin to believe Don Jose could kill. His Flower Song is very gentle and tender, as opposed to the war-cries often displayed by others. The final scene is so vividly enacted, I had "tingles down my spine". Katia Ricciarelli is fully "at home" with a role of angel-like Micaela, her 1st Act duet with Carreras is one of the most beautiful things one could ever hear. Van Dam brings out everything we like to see in Escamillo: single-mindedness, arrogance, and swagger. Karajan uses an interesting orchestral arrangement of the Toreador Song before "Tout d'un coup, on fait silence..." making you imagine the pause just before the bull charges. He also slows it down a bit, increasing the tension throughout and the last chords of it are like wineglasses clashing triumphantly together. Supporting roles are taken by some impressive vocal powers, including Jane Barbie and Gino Quilico. Btw, there is a Carmen video featuring Baltsa and Carreras, also from DG, fantastically sang and recorded.

Average customer rating:

Landmark Soprano. Essential for Opera lovers
music lover
Wonderful conclusion of the La Divina Series
A milestone!
Wow im the first to review this masterpiece

Maria Callas: La Divina 3
Tito Gobbi , Giuseppe di Stefano , Nicolai Gedda , London Philharmonic Orchestra , La Scala Theatre Orchestra , Conservatory Concert Society Orchestra , and Paris National Opera Theatre Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Release Date: 1995-01-17

Tracks:

'La Mamma Morta'
'O Nume Tutelar'
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'Dov' E L'Indiana Bruna?'
'Qui Radames Verra!... O Patria Mia'
'O Soave Fanciulla'
'Signore, Ascolta!'
'Qual Fiamma Avea Nel Guardo...Hui!' Stridono Lassu'
'D'Amor Sull' Ali Rosee'
'Vogliatemi Bene, Un Bene Piccolino'
'Ombra Leggiera'

Customer Reviews:

Landmark Soprano. Essential for Opera lovers.......2007-05-26

Maria Callas may be the only female operatic 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

music lover.......2007-04-22

I got this for a friend and she was happy with it. I didn't care for it personally.

Wonderful conclusion of the La Divina Series.......2004-11-06

Before buying this recording one should check how many of Callas' EMI-recordings are in one's collection because the La Divina Series aren't independent recitals Callas recorded but very good compilations of her great art. This recording starts out with the piece that is famous beyond all other recordings, Callas singing "La mamma morta" from "Andrea Chenier" as used in the fantastic movie "Philadelphia". Tom Hanks' reaction to this voice is not uncommon for Callas goes straight to the heart and will remain there forevermore. Her tormented timbre as Maddalena is so intense, it'll make you weep. Being recorded as part of her glorious "Lyric and coloratura arias" recital this shows Callas in her prime, the prime we know from her divine Tosca for example. "Io son la vita, io son L'amor!" Callas sings, her voice soaring to the stars. Tom Hanks was crying when he listened to this, this true divine sound. The next track is from the "Callas at La Scala" recital, Spontini's forgotten "La Vestale". Only Maria Callas and Rosa Ponselle triumphed in this role and listening to this recording you'll understand why. "O numi tutelar", Giulia's plea to the gods to protect her from her love for Licinius because she's a Vestal Virgin and therefore has to remain chaste. Incredibly beautiful and phrased to perfection. How sad that her complete live-recording is not in good sound because this studio-gem shows what a triumph it could have been.
The next track features her in the French music that suits her best, the music of Massenet. Manon's "Adieu notre petite table" is a famous aria as performed by Victoria de los Angeles, Ileana Cotrubas, Renee Fleming or Beverly Sills. Callas truly sounds like she's nothing but "faiblesse et fragilité" here, one barely hears the voice of Medea or Norma in this gentle sound. I love her as Charlotte as well as Manon, both characters suited her incredibly well.
As if to invite comparisons we hear her as the "other" Manon next, the Manon as composed by Puccini. Listen to her "Ah! Saro la piu bella!" sung with all the shallow colours of a luxury-ridden mistress whose voice only sounds fully coloured as her beloved appears. (Tu, tu, amore tu?) Callas and di Stefano had a great chemistry, in the studio as well as on stage and this can be heard incredibly well here.
It goes on and on with sparkling renditions of Lakme's and Dinorah's arias, as well as a beautiful "D'amor sul'ali rosee". Björling once said: "Perfection has a name. It's Callas!" And Gigli, when singing a concert with her explained why he couldn't sing a duet with her: "I'm afraid she's just TOO good!" Callas and controversy go hand in hand. Bernstein called her "The greatest artist in the world!" and I, as a mere listener, agree heartily.

A milestone!.......2004-02-26

I bought all three La Divina Releases and they're all splendid. Brilliant, for Callas and beyond!

Wow im the first to review this masterpiece.......2001-01-11

This CD has two of the best arias every Callas fan should have....the bell song and la mamma morta these arias alone make this cd worth it....she shows her true power and agility in both of these arias that display what is called perfect technique....making her a true Dramatic Colortura singer...and maybe the only real one...but this cd has more it contains an aria from her famous role of Nedda from Pagliacci which she never did on stage so this is a real treat... and her Carmen is always perfectly done...this cd runs through so many beautiful arias and Callas did great in all of them...this is why we call her La Divina

Average customer rating:

French music sung to perfection
Brilliant French!!!
Supreme!!!!
Nobody can double Callas!
A GREAT EXPERIMENT BY CALLAS

Callas à Paris: Arias, Vol. 1

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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General | Opera & Vocal | Styles | Music

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ASIN: B000002SA5
Release Date: 1998-01-20

Tracks:

'J'Ai Perdu Mon Eurydice'
Divinites Du Styx
Habanera: 'L'Amour Est Un Oiseau Rebelle'
Seguedille: 'Pres Des Remparts De Seville'
'Printemps Qui Commence' - Camille Saint-Saens
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'Ah! Je Veux Vivre Dans Ce Reve'
'Ah, Pour Ce Soir ... Je Suis Titania'
'De Cet Affreux Combat ... Pleurez, Mes Yeux!'
'Depuis Le Jour '

Customer Reviews:

French music sung to perfection.......2004-05-18

French was one of the languages Callas spoke fluently and beautifully. Her few recordings of French music are rare, exquisite jewels indeed. Beginning with Orphée's lament we hear not a beautiful serenade but a despaired soul yearning for its beloved, seeking what it couldn't reach, begging for a response from the one who couldn't hear its pleading. The tormented outcries "Euridice! EURIDICE!" will have you misty eyed. Singing the French version of Gluck's Alceste, a role she had sung brilliantly in Italian, having La Scala at her feet, she dazzles with a dignified elegance and brilliant style for Gluck as well as crystall clear diction and perfect phrasing. Her Carmen breathes fire and is maybe the most dangerously sexy gypsy you'll ever hear. Massenet's evil seductress Dalilah is sung with a totally different voice. Silken, husky and erotic, it is almost unbearable not to fall prey to this siren. Juliette's waltz, while magnificently phrased and coloured was recorded too late. Her Mignon is deliciously beautiful. But the highlight is her "Pleurez mes yeux". Callas finds colours and incredibly haunting pathos here. Presenting the contralto like depth of her rich low notes and magnificent middle she defines sadness, resignation, yearning for death and remembering crushed hopes. Maybe one of the most sublime examples of stylistic, tasteful singing of "verismo". Absolutely stunning, one of Callas' best recitals ever.

Brilliant French!!!.......2004-04-04

Callas spoke French fluently. She sang it perfectly well. This CD deserves 1000000000000000 stars!

Supreme!!!!.......2001-06-02

This is one of the best Callas recital!!! It's very wonderful!!! I think that the disappointed person of the first review has a problem with the ears. I don't understand french, and I don't know if Callas pronunciation is good, but the sound of the arias is very beatiful. Just listen the tracks 2, 8, 9 or 11 and prove. She sounds with strong force in all the arias... From the drammatic soprano in "Divinites du Styx" to the coloratura soprano in "Titania's" aria. If you are a Callas fan, this CD is for you. If you are not, this recording is very good for become...

Nobody can double Callas!.......2000-03-19

This is my absolute favorite recital disc. It is amazing what this woman has down to opera and continues to do. Aside from Carmen- nothing Callas has sung falls in the spectrum of my favorite operas- I really don't care for Puccini (safe Butterfly), Verdi (save Don Carlos), Donizetti (save Lucia), Bellini, Rossini, and any number of the composers whose work Callas has sung. My favorites lie first and foremost with Mozart, then Wagner, and the great Russian operas...

This disc is incredible...there is nothing like hearing this woman sing.

There is a reason why Callas is the greatest opera singer/actor to ever live- this disc brings it in full light.

A GREAT EXPERIMENT BY CALLAS.......1999-06-27

When this recording was issued in the early 1960's, there was surprise that Maria Callas should have chosen to record arias from French opera, and on top of that, six of them associated with mezzo soprano and even contralto voices. Actually, it was a wise decision, and it shows the direction her career could have taken had she chosen to follow the course she led many to believe she was taking by doing this recording. Callas had, of course, a fully developed and unusually full lower register in her voice, and she could use chest tones to great effect. Thus the arias from Gluck's "Orphee", Bizet's "Carmen", and Saint-Saens "Samson et Dalila" come off as close to flawlessly as one could get. The three arias from "Samson et Dalila" are especially fine, representing Callas at her greatest. She, of course, did record "Carmen" complete a couple of years later for EMI, but the two arias in the complete set do not have the verve and flash that they have on this recording. But there is another side to the story here. Callas's upper register, that which she utilized for her entire career, was deteriorating rapidly and mercilessly. This is obvious enough in the soprano arias she sings on this recording as well. It is not much of a problem in the "Le Cid" and "Alceste" arias, since the top B's and B flats are relatively short, and her singing of these pieces is otherwise so outstanding that a couple of bad top notes cannot spoil them. It is in the arias from "Romeo et Juliet", "Mignon", and especially "Louise" where the top notes become a real issue.Yes, there is great vocal phrasing here, and the feeling is right on target, but the climatic top notes are a real trial. The beautiful "Depuis le Jour" from "Louise" starts beautifully enough, but as soon as the music climbs above the staff, it becomes a test of the listener's endurance. Nevertheless, there is enough great work from Callas here to warrant a purchase of this recording. It also shows that Callas, given her great gifts, could have forged a new career in a new repertoire. That nothing of the sort came about is a loss for us all.

Average customer rating:

Iconic troubadour
Boy Genius.
One of the most outstanding debut albums EVER
Best acoustic album ever
Bensusan defines the very essence of music and soul.

Pres De Paris
Pierre Bensusan
Manufacturer: Rounder Select
ProductGroup: Music
Binding: Audio CD

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The Town That I Loved So Well
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Sunday's Hornpipe
Lady de Nantes
Jigs: Merrily Kissed The Quaker And Cunla
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One Morning In May

Customer Reviews:

Iconic troubadour.......2006-08-17

Pierre Bensusan's music has such an outsdanding depth, with a great guitar and rich voice, so well suited to the troubadour style of this album.

Boy Genius........2000-07-03

Pure perfection! It simply is, one of the greatest finger-style, guitar albums ever.

You cant go wrong, and it cant be matched in chops, writing and passion.

Bensusan, is considered one of the greatest guitarists in the world so you will get an earfull of great acoustic guitar picking....he also vocalizes over some tunes occassionally (80% instrumental 20% w/vocals), typically folksy lament in French or pure abstract scatisms....now imagine a Frenchman scatting over solo guitar with a celtic flavor, at the highest degree of beauty and technique.......

Considered a leader in Celtic interpretations as well, playing exclusively in the DADGAD tuning...

...you have Bensusan.

One of the most outstanding debut albums EVER.......2000-04-28

Pierre Bensusan, then only 17 years old, recorded this gem which was awarded the prestigious "Grand Prix du Disc" at the 1976 Montreux Jazz Festival. Despite his age, Bensusan was already a veteran of the european folk scene, and right from the very beggining he wasn't afraid to incorporate diverse musical heritages to his own personal vision. Ever the seeker, Bensusan not only developed a very peculiar playing technique and gained proficiency in alternate tunings (being the Davy Graham-DADGAD his trademark), but also a highly developed compositional sense. The delicacy of his touch, the rich filigranes, the unlimited resources of his creativity are all present in this CD. Begin with this one, and if you can believe it's possible, be prepared to hear his next offerrings. Yes, he DID manage to get BETTER. A true genius.

Best acoustic album ever.......1999-10-20

It is rare to pay for a CD and actually get more than a few good cuts. Every cut on this CD is a gem. I play acoustic guitar and have a pretty good collection of music but nothing that is as clean and bell-like as Pierre's guitar on this CD. "The town I loved so well" is alone worth the price. Pure acoustic genius.

Bensusan defines the very essence of music and soul........1999-05-29

This is beautiful and joyous music. Listen and surrender yourself to its power. Long live Pierre!

Jazz in Paris: Nuits de Saint-Germain des-Prés

Average customer rating:

caution: this CD is highly addictive

Jazz in Paris: Nuits de Saint-Germain des-Prés
Django Reinhardt
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Anouman
Fine and Dandy
D.R. Blues

Album Description

Full title - Nuits De Saint-Germain Des-Pres. Part of the Jazz In Paris series from the French label Gitanes. Remastered. Digipak. 2002.

Customer Reviews:

caution: this CD is highly addictive.......2006-09-24

"Nuits de Saint-Germain des-Prés" is one of the many treasures now available through Gitanes' Jazz in Paris series. Without hyperbole, this recording is absolutely phenomenal. Django is in top form. His acoustic and electric solos blaze. Yes -Django plays electric guitar on this! At times, he really rips it up. While much has been written about Reinhardt's improvisational abilities, this recording also showcases his talent as a composer, bandleader and arranger. This brief CD is composed of three Decca sessions from 1951 to 1953 - the final year of his life. This time period is especially interesting. When most listen to Django, it tends to be his earlier work from the 1930's featuring Stéphane Grappelli in the Quintette du Hot Club de France. This is almost twenty years later. What is immediately striking is that the music doesn't sound like old time gypsy jazz. This is straight ahead modern jazz. While the music is astonishing, there are two drawbacks. If the listener is bothered by hiss, the treble may need to be turned down. Second, at less than thirty-seven minutes, the length is too brief. Why not combine this with another of Reinhardt's five releases in the Jazz in Paris series? Regardless of the drawbacks, this is essential for both Django enthusiasts and the uninitiated. "Nuits de Saint-Germain des-Prés" will amaze the listener and redefine how we think about Django Reinhardt's later body of work.

Average customer rating:

The Best of Bizet

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000004195
Release Date: 1994-05-10

Tracks:

Carmen - Suite No. 1: Prde
Carmen - Suite No. 1: Aragonaise
Carmen - Suite No. 1: Intermezzo
Carmen - Suite No. 1: Les dragons d'Alcala
Carmen - Suite No. 1: Les torors
Carmen - Suite No. 2: Marche des contrebandiers
Carmen - Suite No. 2: Habanera
Carmen - Suite No. 2: Nocturne
Carmen - Suite No. 2: La garde montante
Carmen - Suite No. 2: Danse boh
L'Arlenne - Suite No. 1: Prde
L'Arlenne - Suite No. 1: Minuetto
L'Arlenne - Suite No. 1: Adagietto
L'Arlenne - Suite No. 1: Carillon
L'Arlenne - Suite No. 2: Pastorale
L'Arlenne - Suite No. 2: Intermezzo
L'Arlenne - Suite No. 2: Menuet
L'Arlenne - Suite No. 2: Farandole
Chanson d'avril, Op. 21 No. 1
Les peurs de perles -: Au fond du temple saint
Les peurs de perles -: 1. Marche: Trompette et tambour
Les peurs de perles -: 2. Berceuse: La poup
Les peurs de perles -: 3. Impromptu: La toupie
Les peurs de perles -: 4. Duo: Petit mari, petite femme
Les peurs de perles -: 5. Galop: Le bal

Tracks:

Symphony In C: 1. Allegro. Allegro vivace
Symphony In C: 2. Adante. Adagio
Symphony In C: 3. Scherzo. Allegro vivace
Symphony In C: 4. Finale. Allegro vivace
Carmen: La voila! Voila la Carmencita! - L' amour est un oiseu rebelle
Carmen: Pres des remparts de Seville
Carmen: La fluer que tu m' avais jetee
Variations Chromatiques
Angus Dei
La jolie fille de Perth Suite: Prelude
La jolie fille de Perth Suite: Serenade
La jolie fille de Perth Suite: Marche
La jolie fille de Perth Suite: Danse bohemienne

Average customer rating:

Bizet: Carmen (Highlights)

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
Similar Items:

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra

ASIN: B000006OGH
Release Date: 1998-06-02

Tracks:

Carmen: Avec la garde montante
Carmen: Habanera: L'amour est un oiseau rebelle
Carmen: Parle-moi de ma mere!
Carmen: Seguedille: Pres des remparts de Seville
Carmen: Chanson boheme: Les tringles des sistres tintaient
Carmen: Votre toast, je peux vous le rendre
Carmen: La fleur que tu m'avais jetee
Carmen: Melons! Coupons!
Carmen: C'est des contrebandiers... Je dis, que rien ne m'epouvante
Carmen: Les voici!
Carmen: C'est toi!... C'est moi!

Average customer rating:

Callas à Paris

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000002RPO
Release Date: 1990-10-25

Average customer rating:

Can't get enough...
MIXED REVIEW FOR PIERRE BENSUSAN 2
Pierre Bensusan 2
One of the ELITE finger-stylists in the world.

Pres De Paris/P.B. 2
Pierre Bensusan
Manufacturer: Rounder Select
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

Rounder Records | Specialty Stores | Music

General | New Age | Indie Music | Stores | Music
Similar Items:

Pres De Paris
Solilai
Musiques
Altiplanos
Intuite

ASIN: B000000329
Release Date: 1993-10-11

Tracks:

Belle Je M'en Vais En Allemagne
Le Conseil De Guerre (Or) Condamne A Mort
March: The Return From Fingal
Le Roi Renaud
Reels: The Pure Drop (And) The Flax In Bloom
La Danse Du Capricorne I
La Danse Du Capricorne 2 (Or) A Day At The Jurg Pompidor Center
Le Joli Bransle
Jardin D'amour
Le Lendemain De La Fete

Customer Reviews:

Can't get enough..........2006-11-10

Pierre Bensusan's music,unique touch and awesome voice take you to explore so many feelings. He's an inspiring genius. Merci Pierre!

MIXED REVIEW FOR PIERRE BENSUSAN 2.......2004-10-22

Pierre Bensusan is one of the best fingerstyle guitarists in the world -- pariticularly his celtic repertoire. If you're look for an album containing performances of Bensusan's celtic fingerstyle guitar work, this album is not it. While there are a couple good tracks -- most notably track 5 "The Pure Drop and the Flax in Bloom," the majority of the album is an eclectic mix of continental bagpipes, saxophones, piano, and lugubrious French vocals accompanied by Bensusan's admittedly good guitar backup. While nothing is bad about the album per se, if you're looking for celtic fingerstyle guitar, consider some of Bensusan's other albums.

Pierre Bensusan 2.......2002-05-25

Pierre Bensusan is up there with the greats. Using DAGDAD tuning, and variations on it, he acheives a rich, resonating and deeply spiritual sound.
The highlight for me is the song 'Le Conseil de Guerre' - the story of a man who never got around to living his life for lack of time. A simple French folk song, Bensusans harmonic guitar playing is accompanied by his soft, melancholy vocals - the guitar and voice singing as one.
This album is one that I have returned to again and again, each time discovering more. I highly recommend this as an introduction to his work.
If you're a guitarist then you'll be inspired. Listen to Bensusan, loosen those strings, hook into the harmonics - farewell to EAGDBE.

One of the ELITE finger-stylists in the world........2000-07-03

Pure perfection! It simply is, one of the greatest finger-style, guitar albums ever.

You cant go wrong, and it cant be matched in chops, writing and passion.

Considered a leader in Celtic interpretations as well, playing exclusively in the DADGAD tuning...