Le Maitre

Le Maitre

Track Listings

1. Bo'o We Go Water

2. Esele Mba Na Bolane

3. Kulu Togo

4. Qui Va Payer la Facture

5. Quand C'Est Fini, C'Est Fini

6. Malvina Ambiance

7. Moto a Sibi

Customer Reviews:

an exotic, twisted fantasy world of sound........2007-06-08

although i don't know that i will ever _like_ Pierre Boulez's music that much, I still find it among the most interesting in all of western art music. here is an emotionally gripping exception in his catalogue, however: _le marteau sans maitre_ for alto, alto flute, guitar, vibes, xylorimba, percussion, and viola. The obvious reference point for such a work is clearly Schoenberg's _Pierrot lunaire_, which serves as more than partial inspiration. The comparison is important, because _pierrot lunaire_ is the most spiritually/emotionally intense work of expressive 20th century music. now boulez's work does not exactly reach that level, but it has a more organic, more lyrical nature than the works of earlier Boulez, like his piano sonatas, the _Structures_, or _explosante-fixe_. Both pieces feature vocals with small chamber groups, although in Boulez's work the instrumental selection is more unconventional and lends itself to a very different timbral effect, and the soprano does not actually sing in all nine movements. (both works complement each other nicely and together make for good listening on a rainy evening)

perhaps too much comparison for my liking, so the individual personality of this work needs emphasis. This is of the first Boulez works to escape the severe self-restrictions of pure serialist methodology. this must partly be the reason that _le marteau..._ is startlingly lyrical, free of the barrenness that makes much of this post-war contempory music very `samey' and prosaic. It also has a strange immediacy that is more "of this earth" than his more alien music. the first movement is startling for its sheer beauty, urgent and strange guitar chords, eerie percussion and gentle strokes of the viola. Later there is a familiar trait found here, which is the way in which Boulez masterfully manipulates the cyclical, intertwined nature of the movements. Its structure is not rigid mosaic components, but notions that are provisional, plastic, and self-modifying - its engrossing transformations arcane but emotionally charged. This is perhaps easier to see if one changes the order of movements to 1,3,7 in the first part, 2,4,6 in the second part, and 5,9 at the end, although doing this causes a loss of dramatic effect. `bourreaux de solitude' would have to show any dullard the potential for enigmatic beauty in the pejoratively titled `atonal music'. In faster, brighter, more rhythmically intense movements there is a calmness and wonderful lack of irony. although all throughout its metric direction is weirdly timeless, there appears to be a jazz-like pulse barely perceptible especially on the `commentaires' II and III. The singing is very good, the best on the last movement where the music is ultra-jagged but the vocals like a cool breeze. i have read that this performance is slower and mellower than Boulez's previous ones -- I can only think it was meant to sound like this.

_derive 1_ for six instruments (flute, clarinette, violin, cello, vibraphone, and piano) and _derive 2_ for 11 instruments (horn, english horn, clarinette, bassoon, violin, alto, cello, vibraphone, marimba, harp, and piano) are very nice. I am too lazy to write more about them, but they are relatively minor works anyway.

Boulez high interpretive visions; to himself for a change........2006-05-19

you can never argue with good playing of music,even if the music itself is utterly dull and uninspired,although I have played music where no amount of interpretive imagination could have saved it;here we have inspired aggressive playing, in tune,well-balanced,and razor-sharp timbres exhibited,that in itself compells the ear to listen more,it instills a direct committment to the timbre, the ultimate meaning of music, this interface is one Boulez knows quite well,and as he has said himself no amount of wiggling gesticulating in convulsions on the podium will make the music any more interesting; that's not what you get herein however; "The Hammerless Master"when written was perhaps the most highly imitated work of the post-serial period,mostly academic Americans where everybody thought they could "out-Boulez", Boulez, well we have a lotta music now that is collecting dusk in those corridors.Boulez was more attuned to creating a new context for serial creativity a renewal of one with usuable timbres(Orient-Occidental) circling the globe, the gamelan timbre is certainly here,as well as the complexity of serial procedures. There are infintesimal harmonies created with the interesting combinations of acoustic guitar, viola, alto flute,percussion bongoes(primarily vibraphone).I never grow tired of this work, but Boulez's instincts for seeing interpretive dimensions no one else does is/are always worth pursuing(as his readings of un-Tchaikovsky-like Stravinsky,very lean and mean Berg, then Mahler and Bruckner) here in his own music he allows himself to find new points of pursuable interest as his more lyrical sensual "Hammerless Master" reveals. I still find the vocal writing however problematic, as if it is beside the meaning of the text,just another instrumental part thrown upwards; the voice has a kind of "other-wordly" place, not a conveyor of meaning but more of "ambience","mists" of an opaque situation.This recording trys to "fix" or "re-tune" this emotive role-bearing aspect of Rene Char's powerful text to some degree. Now if that is intended and if you find that compelling well no one can argue with this.
In "Derive" as well Boulez again here pursues yet another reading(like a cantus firmus) of his 1994 piano solo later revised in 2001, "Incises" translated as the "cuttings" as like a river may "cut" a continent in half, or the fine lattice work, the lapidarian shapes of nettles cutting a metal image in miniature. Here the gestures are fairly obvious, and I agree with the other reviewer who finds that the work grows dull and arbitrary in its discoursal direction.I first heard Derive 1 along side Dufourt's powerful "Antiphysis"(for larger forces) which drew the more sketchlike "unfinished" qualities in the Boulez all the more pronounced. It does have an affinity for late Debussy, with its find, pulled-backwards gestures, gentle tremoli,exposed fine elegant bourgeois melodic lines.

Boulez Returns to Conducting Boulez!.......2005-12-10

Pierre Boulez has become a name synonymous with masterful conducting of clarity, revealing inner voices of a work, while transforming the classics into thrillingly alive and refreshing experiences. His Mahler, Wagner, Debussy, Stravinsky, Bartok etc performances and recordings rarely fail to open vistas to those of us who thought we knew favorite scores well. It should be no surprise then that his new recording of his now 'old modern works' sound soothingly new under his baton.

'Le marteau sans maître, for alto, alto flute, guitar, vibes, xylorimba, percussion & viola' was a success at its premiere way back in 1955 - music that changed the palette of sound and timbre yet remained accessible. Here Boulez finesses his old recordings and in this splendid, clear, transformative reading confirms that this work is a masterpiece. The Ensemble Intercontemporain plays as though the members grow out of Boulez' fingertips and Hilary Summers lush and perfectly focused mezzo-soprano voice traverses the impossible melismata with ease and conveys the beauty of the poetry. The performance is a knockout!

Dérive I, for flute, clarinet, piano, vibes, violin & cello and
Dérive II, for chamber ensemble are later works and now find far more interest than intial hearings. The palette of sound and rhythmic variations is startling and beautifully performed. This is a fine recording on all counts and one that certainly belongs in the collection of those who follow Boulez in all his myriad accomplishments. Highly Recommended. Grady Harp, December 05

A new, mellower Marteau.......2005-06-25

On its comparatively rare appearances in concert, Pierre Boulez's Le Marteau sans maitre--the work that made his name as a composer--continues to divide audiences, some seeing it as a perfect example of sterile post-war modernism, others echoing the positive reaction of figures such as Igor Stravinsky and Otto Klemperer, who saw it as a vital contribution to post-war art. The composer has now made his fourth recording, examining his early music from a vantage point fifty years later on, perhaps providing a good time to re-evaluate the work.

Previous recordings (particularly the early recordings) have tended to emphasise the work's spikiness as well as the glittering colours that come from its remarkable alto-register ensemble (flute, guitar, viola, vibraphone, xylorimba and percussion). However, Boulez's new reading focuses more on the music's lyrical aspects, perhaps siting it in a context of late Debussy and song cycles such as Ravel's Mallarmé poems. Hillary Summers' voice seems to have been chosen specifically with that in mind--warm and creamy, it suits very well Boulez's gentler tempo and emphasis on the sensual over the radical. Perhaps this recording will feel too low-voltage for those used to the early recordings of the work, but, on the other hand, it might also make new friends for the work (never before has Bourreaux de solitude sounded so lyrical, so French).

Given the manner in which the performance of Marteau refracts early Boulez through a late-Boulez prism, it's perhaps appropriate that the couplings are of comparatively recent works. Dérive 1 is a luscious miniature for flute, clarinet, violin, cello, vibraphone and piano, six minutes of pure wallowing in sound. The largely unrelated Dérive 2 (making its debut on disc) is a little more problematical. Written for a larger ensemble (cor anglais, clarinet, bassoon, horn, violin, viola, cello, vibraphone, marimbaphone, harp and piano) it takes the 'never-ending spiral' structure of Sur Incises, and works out its material over twenty-five minutes of oscillations between various rhythmic figures. At times the music sounds delectable, but I find that after a while it starts to pall--it's less fun than Sur Incises and sometimes the progress of the work seems rather arbitrary.

The performances are mostly exemplary, as one would expect from Boulez's own ensemble, though I marginally prefer the composer's earlier recording of Dérive 1 on Erato. Convinced Marteau admirers will no doubt want to hear this distinctly different interpretation of the work--others may feel differently.

Bravo Mr Boulez!!!.......2005-05-14

Le Marteau Sans maître is one of the most important works of the Twentieth Century . It is a work that symbolize, by its austerity and rationalist process of composition , the essence of the second vanguard of the century. After years of a Neo Classical process (1920-1950) , the new generation, born in the twenties , rediscovering Webern and Schoenberg , were ready to change the history. The serialism was at its peak: timbres , durations, dynamics, everything was pre determinate. Le Marteau sans Maitre can be read as a new way to see one of the most important works of the first half of the twentieth century: Pierrot Lunaire, by Arnold Schoenberg. Schoenberg wrote this work in three parts, with different subjects in each of the three parts. Pierre Boulez handle with three parts too: There are three songs based in three poems by Rene Char. And each song has one instrumental precedent or commentary. But the order isn't easy to understand: Lets take the three first movements of the work:it begins with a intricate fast scherzo: it is one precedent of the song L'artisanat furieux. Than we have a commentary of another song :Bourreaux de solitude. Than for the first time one of the songs: L'artisanat furieux. This one is a clear homage to Schoenberg. As in the seventh song of Pierrot Lunaire , we have hear a music to voice and solo flute. And as in Pierrot Lunaire, Boulez controls the extension of the pauses between the movements of the work. The sounds of Le Marteau sans maitre include exotic sounds like the African ( and very popular in Bahia-Brazil) Agôgô and the Caribbean Maracas. And the end of the work evokes something of oriental music. The surrealist texts are placed in a very sophisticated atmosphere . The result is fantastic. At the end we have a fusion between the voice and the instruments. If you don't have to play or to conduct this work, forget all the difficulties of the score. Enjoy the sounds, the ambience and the fantastic relations between text and music.
Before this recent performance Pierre Boulez recorded several times this work. There are two of these versions that are remarkable: one with the mezzo Jeanne Deroubaix ( the flutist in this record was the fantastic Severino Gazzeloni) and other with the famous Canadian Mezzo Yvonne Minton ( with fantastic musicians as the percussionist Sylvio Gualda and the flutist Michel Debost). I would like to remember that there is one very interesting old recording ( in LP) conducted by Robert Craft, and curiously this is the only one to follow the crazy metronomic marcs of the score. Boulez himself never followed his metronomic indications, and this new recording is the slower of all. The young musicians of the Ensemble Intercontemporain play this music as if it were easy. As never before we have hear a fluency and one constant beauty of sound. The Mezzo Soprano Hilary Summers has a beautiful voice and her intonation is simply perfect. Her range is perfect for this music. In short: this is the most fluent and the most perfect performance of Le Marteau sans Maître . And technically the sound of the recording is outstanding . As a bonus we have two other masterpieces: Dérive 1( 1984) and the wonderful Dérive 2 ( concluded in 2002). This recent composition has some instrumental colors of a profound beauty. Written for 11 instruments, it shares the atmosphere of Sur Incises and of Répons. Dérive 2 is a testimony of the energy of this young 80 years old composer. Maybe the most important musician of the second half of the twentieth century. This recording gives you the opportunity to know compositions that aren't easy. But no one can deny that these are works among the really more important works of the last 50 years. These works deserve your attention .

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Average customer rating:

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0001BFIEQ
Release Date: 2004-09-28

Average customer rating:

Surprised
You will be transfixed...
Soft, Real, and Very Good
An elegant classical offering from a pop icon

The Classical Nana

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

General | International | Styles | Music

General | Jazz | Styles | Music

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Classic | Vocal Pop | Pop | Styles | Music

General | Rock | Styles | Music

General | Broadway & Vocalists | Styles | Music
Similar Items:

Ma Verite
Nuestras Canciones
Nana Latina
Ode To Joy
Vielles Chansons de France

ASIN: B000001FPM
Release Date: 1989-07-14

Tracks:

Adagio Notturno- Op. Posth. 148 D. 897: Only Time Will Tell
Norma: Qual Cor Tradisti
Danse Espagnole, No.5- Andalouse: La Andaluza
Adagio Per Archi Ed Organo: Adagio
Maitre Pathelin: Romance
Suite No.11- Sarabande: Gloria Eterna
Aranjuez: En Aranjuez Con Mi Amor
Le nozze di Figaro: Voi Che Sapete
Carmen: Habanera
Nabucco: Song for Liberty
Elixir Of Love: Una Furtiva Lagrima
Moise En Egypte: Mon Dieu
Serenade_: Serenade
La Celestine: Plaisir d'Amour
Norma: Casta Diva
Winterreise: Der Lindenbaum
Recuerdos De La Alhambra
Ave Maria, Op. 52, No.6- 1825: Ave Maria

Customer Reviews:

Surprised.......2004-05-04

I am an opera fan and normally detest the sound of non-opera singers trying out their pipes on Mozart, Verdi, Rossini, Puccini, etc. I bought this disc years ago and it's been collecting dust. But since breaking it out, I can't stop listening. Nana's voice doesn't have the classical quality that I am used to from the likes of Kiri Te Kanawa and Mirella Freni, but she makes up for it with her unique style, although she gets a tad shrill on a couple of the songs. But considering she was about 55 when this was recorded it's amazing she still had such range and quality. The arrangements, orchestrations and chorus are breathtaking. Rodrigo's Concierto Aranjuez, with words, was a real surprise. The second movement has to be one of the all-time beautiful melodies ever written and what a perfect voice to sing it. Verdi's "Song for Liberty" from Nabucco is my favorite cut on the disc but there isn't one dud out of 18 tracks and that in itself is a marvel.

You will be transfixed..........2003-07-23

...when you hear Nana Mouskouri's rendition of the Bellini aria from Norma. This artist has been recording for at least 30 years or so-- and I have yet to hear her sing something badly-- she sings in Greek, English, French-- every language-- with astonishing beauty. Excellent

Soft, Real, and Very Good.......2001-10-17

I am sorry to say that I had never heard of Nana before. That is to my detriment. This album is supurb. The music is real, the orchestration is very good, and Nana's voice is unequaled for this type of music. Based exclusively on this album, I plan to buy every one of her CD's I can find.

An elegant classical offering from a pop icon.......1999-11-19

I'm program director of a classical music radio station, and this disc has become a favorite with our morning drive audience -- less idiosyncratic than Sarah Brightman's popular but over-hyped offerings, and Mouskouri's voice is richer (though with less power) as well. Mouskouri has always been more popular in Europe than the US but has had a strong following in America anyway. Even her most ardent fans must have been surprised when this disc was released a few years ago, for it is a surprisingly elegant and moving interpretation of classical melodies. A few retain their original lyrics, and Mouskouri has added lyrics to some works that were originally instrumental, but everything is handled with grace and style. And that voice! Fluid, silky, always balanced -- it's a wonderful disc.

Average customer rating:

More Kasarova's magic...
AN HOUR OF FRENCH DELIGHT!!!!

Love Entranced: French Opera Arias
Vesselina Kasarova
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Vesselina Kasarova - Mozart Arias / Sir Colin Davis
Vesselina Kasarova - Rossini Arias and Duets / Flórez, Fagan
Vesselina Kasarova - Schubert, Brahms, Schumann Lieder
Vesselina Kasarova - A Portrait
Donizetti - La Favorite / Kasarova, Vargas, Viotti

ASIN: B00004STY1
Release Date: 2002-04-09

Tracks:

Les Huguenots: Non, non...Vous n'avez jamais, je gage
Le Proph: Donnez, donnez
Sapho: Os-je?
Les troyens: Je vais mourir...Adieu, fi cit
Mignon: Connais-tu le pays?
Romet Juliette: Depuis hier je cherche en vain mon mae
Cinq Mars: Per quel trouble profond suis-je ici ramon
Samson et Dalila: Amour, viens aider ma faiblesse
Le Cid: Pleurez, mes yeux!
Le Roi d'Ys: De tous c j'apers dans le plaine

Amazon.com

The Bulgarian mezzo Vesselina Kasarova here exhibits some new sides to her wonderful voice and interpretive abilities. The rich, creamy sound is very impressive near the bottom of its range (rarely the case with mezzos nowadays, Ewa Podles notwithstanding), and she gets to show it off here. The program is varied: We get Urbain's playful, charming aria from Les Huguenots, followed by Fides' pitiful plea from Le Prophete. Sapho's suicidal lament changes mood again, and Dido's farewell offers more grief--all beautifully portrayed. And so on with six more selections, some quite rare and welcome (an aria from Gounod's little-heard Cinq-Mars), others familiar but well-enough done to sound newly minted (Dalila's Act II aria). This CD lets us know that there's even more to Kasarova than Mozart, Bellini, and Rossini. It's a fine release, highly recommended. --Robert Levine

Customer Reviews:

More Kasarova's magic..........2002-04-16

'This is the stuff of legends' -exclaimed Gramophone in their review of Kasarova's debut disc, released in 1997. I don't know if this new one will create the same excitement in the music press but to me it will always be 'the stuff of legends', maybe even more so than the first. It rarely happens that a singer makes me an addict of repertoire I never really cared about. The last time I was so totally captivated by a vocal recital was with Bartoli's Gluck disc. But Bartoli's task was much easier; I had been a huge Gluck fan for years before her disc appeared. Kasarova's chances of captivating me with her French recital were rather meager but her solo discs are such rarities (I hope it has something to do with her recent pregnancy and not with the caprices of the classical music industry) that I couldn't resist. And the rest is indeed 'the stuff of legends'...
Obviously I can't call myself a connoisseur of this repertoire but I also never thought of myself as a mere 'voice' addict: what mattered more was the repertoire sung, so you'd never see me buying Bartoli's Bellini or Donizetti arias disc if she suddenly decided to record such a thing. So why all of a sudden do I find myself buying a disc of French arias by composers - with the exception of Berlioz - I never really cared about? Well, that's Kasarova's magic... I can't offer you a track by track analysis of this disc - I'll leave it to those who know a bit about French opera of the period - but I can assure you that this is singing of great beauty and unsurpassed artistry (and in beautiful French). It is hard to pick absolute favorites in this collection of gems, but if I had to choose then it would be Massenet's "Pleurez, pleurez mes yeux" (track 9) from "Le Cid" with a marvellous clarinet solo, or "Nuit resplendissante" from Gounod's "Cinq-Mars". In the recitative to Stefano's aria from Gounod's "Romeo et Juliette" ("Depuis hier je cherche en vain mon maitre") I would like to hear a bit more of the arrogance that the text calls for, but this is a small detail.
The orchestral playing of the Munich Radio Orchestra under Frederic Chaslin is a true delight, and this is not one of those casual compliments that one usually adds to a review to make it 'complete'. The playing is really gorgeous and brings as much pleasure to the ear as Kasarova's singing.
Surprisingly, the booklet's essay (by Andre Tubeuf) is not devoted to an introduction to the French opera of the nineteenth century, but talks about the tradition of French singing that was often the domain of foreign singers. Kasarova is continuing this tradition. Says Tubeuf: "If her programme had included the "Tribut de Zamora", her guiding star would have been Gabrielle Krauss; if the "Roi de Lahore", then Josephine de Reszke and if Saint-Saens' "Ancetre", then Felia Litvinne". This may sound like a subtle reproach on Tubeuf's part, for the total timing of the CD is only about 54 minutes. And this is my only quibble about this wonderful release but it is not really important. Artistry of this calibre is so rare that it is well worth the price of the disc, however short. Kasarova's singing has a certain old-fashioned quality, that total dedication that characterizes the artistry of all too few singers today (Bartoli , Fleming and in her own way von Otter are the only other examples I can think of). A wonderful disc and a real treat! (Kicek)

AN HOUR OF FRENCH DELIGHT!!!!.......2002-04-11

It is always a pleasure, when you are listening to an artist singing in your country's language (I am swiss, so almost french), to be able to enjoy each word in its more intimate nature, as only music can do it. Miss Kasarova is a sublime artist and her french is just so exact, so touching, she brings the perfect FRENCH TOUCH. This album is the best collection of great romantic opera arias of the french repertoire that I have ever had in my vast collection of 3500 recordings. The orchestra under the baton of Frederic Chaslin sounds great with a perfect balance, giving both the power and subtility of this music. this is a MUST HAVE!!!!

Massenet: Hérodiade / Gergiev, San Francisco Opera [highlights]

Average customer rating:

Massenet: Hérodiade / Gergiev, San Francisco Opera [highlights]
Jules Massenet , Valery Gergiev , Plácido Domingo , Renée Fleming , Dolora Zajick , Juan Pons , and San Francisco Opera Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

HOMAGE: The Age of the Diva
Renée Fleming - Strauss Heroines / Bonney, Graham, Eschenbach
Verdi:Highlights From Don Carlo
Immortal Beloved / Sir Georg Solti (film 1994)
Love Sublime

ASIN: B0000029N2
Release Date: 1996-11-12

Tracks:

Herodiade: Introduction
Herodiade: Act One - Scene I (excerpt) - 'Ah! Salome! Dans ce palais' - 'Il est doux, il est bon' (Salome)
Herodiade: Act One - Scenes II & III - Introduction - 'Elle a fui le palais' - 'Salome, Salome! Reviens, je te veux!' - 'Venge-moi d'une supreme offense!' - 'Frappe donc!' (Herode)(Herodiade)(Jean)
Herodiade: Act One - Scene IV - 'Calmez donc vos fureurs.' (Jean)(Salome)
Herodiade: Act Two - Scene V (excerpt) - 'Maitre, bois dans cette amphore' - 'Vision fugitive et toujours poursuivie' (choeurs)(Herode)
Herodiade: Act Three - Scene VIII - 'Dors, o cite perverse!'
Herodiade: Act Three - Scene VIII - 'Ah! Phanuel!' - 'Si Dieu l'avait voulu!' (Herodiade)
Herodiade: Act Three - Scenes IX (excerpt) & X - 'Charme des jours passes' - 'C'en est fait! La Judee appartient a Tibere!' (Salome)(Herode)
Herodiade: Act Three - Scenes IX (excerpt) & X 'Que m'oses-tu dire?' (Salome)(Herode)
Herodiade: Act Three - Scene XI (excerpt) - Marche sainte
Herodiade: Act Four - Scene XIII (excerpt) - 'Ne pouvant reprimer' (Jean)
Herodiade: Act Four - Scene XIV (excerpt) - Ballet. Les Gauloises - Finale
Herodiade: Act Four - Scene XV - 'Pourquoi me retirer cette faveur supreme' - 'Ses pleurs ont calme ma fureur!' - 'Laissez-vous emouvoir!' (Salome)(Herode)(Herodiade)(Choeurs)

Roberto Alagna - French Arias / Bertrand de Billy

Average customer rating:

Great French aria recital!!!
The first great French tenor of the 21st century!
A truly great recording
Good but not great
Alagna is a stud

Roberto Alagna - French Arias / Bertrand de Billy
Jules Massenet , Giacomo Meyerbeer , Etienne-Nicolas Méhul Charles Gounod , Camille Saint-Saëns, Alfred Bruneau, Luigi Cherubini Fromental Halévy , Edouard Lalo, François Bazin, Hector Berlioz, Ambroise Thomas Georges Bizet , and Roberto Alagna
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
Similar Items:

Roberto Alagna - Opera Arias
Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna
Angela Gheorghiu & Roberto Alagna - Verdi per due
Roberto Alagna & Angela Gheorghiu - Duets & Arias
Nessun Dorma; Roberto Alagna

ASIN: B000058B1Y
Release Date: 2001-04-10

Tracks:

Maitre Pathelin: Act 1. Romance: Je Pense A Vous
Le Cid: Act 3: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere
Les Abencerages: Act 2. Recitatif Et Air: Suspendez A Ces Murs... J'ai Vu Disparaitre L'espoir
Mireille: Act 3. Cavatine: Mon Coeur Est Plein D'un Noir Souci... Anges Du Paradis
L'Amant Jaloux: Act 2. Ser: Tandis Que Tout Sommeille
La Juive: Act 4. Air: Rachel, Quand Du Seigneur
Mignon: Act 3. Romance: Elle Ne Croyait Pas, Dans Sa Candeur Naive
L'Africaine: Act 4: Pays Merveilleux
La Damnation De Faust: Part 4, Scene XVI. Invocation A La Nature: Nature Immense
Iphigenie En Tauride: Act 2. Recitatif Et Air: Quel Langage Accablant... Unis Des La Plus Tendre...
Les Pecheurs De Perles: Act 1. Recitatif Et Romance: A Cette Voix Quel Trouble Agitait Tout Mon...
Le Roi D'ys: Act 3. Puisqu'on Ne Peut Flechir... Vainement, Ma Bien-aimee
Joseph: Act 1. Recitatif Et Air: Vainement Pharaon Dans Sa Reconnaissance... Champs Paternals
Samson Et Dalila: Act 3: Vois Ma Misere, Helas!
L'Attaque Du Moulin: Act 2: Le Jour Tombe, La Nuit Va Bercer Les Grands Chenes

Amazon.com

Roberto Alagna is without peer among contemporary tenors in the French repertory, as this excellent collection of staples, sprinkled with rarities, demonstrates. He has the right blend of sweetness for the lyric selections and exciting vocal heft for those requiring more muscle. If one must find something to carp at, it's the tenor's occasional tendency to slip into an inappropriate Italianate verismo style. Examples of the "sweet" Alagna are his gorgeous floating soft ending to "Je crois entendre encore," from Bizet's The Pearlfishers, and the lovely head voice in the Lalo aria. His "Rachel, quand du Seigneur," a favorite of tenors from Caruso to Richard Tucker, is taken at a sluggish tempo, but it has the requisite vocal finish and characterization. And Alagna creates the necessary sense of wonder in the opening of "Pays merveilleux," from Meyerbeer's L'Africaine. The Bruneau selection that closes the disc is a welcome rescue of a lovely farewell-to-life aria from a long-forgotten late-Romantic opera. Unlike most collections done with a generalized, one-size-fits-all approach, Alagna's finds him almost always in character. Bertrand De Billy's accompaniments are sometimes too restrained (the orchestral introduction to the Bizet aria is downright sleepy), but that shouldn't keep admirers of French opera and world-class singing from grabbing this disc. --Dan Davis

Customer Reviews:

Great French aria recital!!!.......2003-02-13

Roberto Alagna has the makings of a great French tenor. He has the style and diction down pat. This CD shows off his tenor to great effect. I especially liked the rare selections that were included. There is some wonderful French music on this disc.

Alagna is given great support by conductor Bertrand de Billy and the Royal Opera House Orchestra of Covent Garden. The sound is excellent. This disc was finely produced. On to the review.

Alagna's voice has a scratchy edge to it that gives character to his otherwise rough timbre. His voice is not ugly, but it is not the typical sweet voice of a French tenor. His voice grows on you. His voice also has some dramatic heft to it. He is best in the arias that require some dramatic heft, but not a whole lot. He is totally committed dramatically to the music that he sings. The aria from "Joseph" and the one from "Le Cid" are two great examples. He sings the famous aria from "La Juive" very well. However, on some of the arias, he tends to use too much unnecessary drama. The editorial reviewer was correct in saying that Alagna has a tendency to slip into inappropriate Italian verismo style. Alagna's rendition of the aria from "Samson et Dalila" is not that good. That aria is probably too heavy for his voice. The timbre of his voice takes on an unattractive edge when he sings that aria. Alagna sings the delightful Sérénade from "L'Amant Jaloux" very well with lovely pianissimos. However, it seems that he is a bit rough in his delivery of some of the words. By rough delivery, I mean the use of too much emotion. This charming piece is probably not suited to a relatively heavy voice like his. Also, the exquisite aria from "Le Roi d'Ys" suffers from rough delivery of some of the words. I also wish he had sung the word "vais" in the phrase "Je vais, hélas, mourir!" pianissimo like Nicolai Gedda does on his version of the aria. Alagna's rendition of the beautiful aria from "The Pearl Fishers" is excellent. His pianissimos are to die for! One previous reviewer said that his pianissimos sounded mechanically produced and that some were even unpleasant to the ears. Do not believe that person. Alagna has gorgeous pianissimos that are very naturally produced.

Overall, this is a great recital album that includes some very rare material. It is worth getting.

The first great French tenor of the 21st century!.......2001-06-23

Roberto Alagna is probably the greatest tenor to come from France since Georges Thill, widely considered to have been the greatest French tenor of the 20th century. This is unquestionably Alagna's best solo album, the equal of his astonishing work in Werther. All of his virtues are amply displayed here: a splendid voice, directness and honesty of expression, superb diction in his native French, intelligence, imagination, complete and utter immersion in character, and the ability to make each word he sings mean something. Throughout the disc we hear nobility and sweetness, elegance and passion, tenderness and pain, even charm and humor. This is not merely a 'stud', but a great artist in the service of music.

Most important of all is Alagna's questing spirit. While some superstar singers barely change or add to their repertory over decades of performing, Alagna is eager to mine the rich lode of French repertory (of which we only know a few nuggets) and bring otherwise unknown or forgotten works to a new public. Some of these arias haven't been recorded in at least 60 and even almost 80 years. In fact, so rarely performed are they that the ROH Orchestra had to borrow the orchestral parts for two arias from the Orchestre de Paris!

Since his career began Alagna's voice has grown in drama and power with little loss to the basic lyric quality of his instrument. He does so well with the more dramatic selections not only because of his great skill as a vocal actor, but also because he actually sings the arias beautifully and lyrically instead of just belting them. He is strongest when he can combine heroism with introspection, as in the arias from `Samson et Dalila', `Le Cid', and especially `La Juive', where he perfectly embodies the inner conflicts of these three very different religious men. Indeed I found the grief and guilt of a father about to lose his daughter in the last absolutely heartwrenching. Still, I hope Alagna waits a long time before doing any of these roles on stage, and limits his appearances in them to small theatres. The best track on the disc is `O Paradis', filled with the genuine wonder of discovery. In the aria from `Joseph', Alagna convinces in the widest range of emotions from nostalgia to rage to the desperate desire for reconciliation, and the aria from `Les Abencerages' is also a dramatic tour-de-force. There is also a truly heroic rendition of `Nature immense' from `La Damnation de Faust'. The glorious paean to friendship from `Iphigenie en Tauride' is both urgent and sensitive, and the farewell to life from `L'Attaque du Moulin' is sung even more beautifully than by some historic tenors.

He also shows that he is quite capable of the light touch, such as in the aria from `Le Roi d'Ys' and especially `Elle ne croyait pas' with its beautiful diminuendi. The aria from `Maitre Pathelin' which opens the disc is a sweet, lovely serenade capped by a splendid high C#. It's a pity that he does not take all of `Je crois entendre encore' as sweetly and headily as he takes certain phrases, but I admit to being extraordinarily picky about the performance of this aria and am only truly satisfied by Gedda.

As with his performances at the Met and elsewhere, Bertrand de Billy proves his skill in bringing out the spirit and elegance of French opera. If his tempi are a trifle slow (and nowhere near as much as those of, say, Michel Plasson) they only aid musical expression. He has been a long time friend and collaborator of Alagna, and their rapport shows here. The orchestra plays very well and London Voices makes a fine choral contribution to the `Samson et Dalila' scene.

If there is any complaint to be made, it is that while Alagna differentiates character superbly, he doesn't differentiate actual musical style much. Over 100 years separate the Gretry and Bruneau arias, and he sings them basically the same way. And there are a few moments where he overdoes the heroism (and volume) a bit, notably in `Anges du paradis' and the Gretry aria. Still, in the context of the disc's overall splendor, these are minor flaws. It's also a shame that the originally announced aria from `Herodiade' is not included. I presume it didn't fit onto the otherwise generously filled (73 minute) disc.

By and large the documentation is also very good. Admirers of French opera who have only heard the rarities on historical labels with minimal documentation will greatly appreciate the full texts and translations included here. There is a nice essay on the French tenor tradition 'which Roberto Alagna inherits' written by noted English critic John Steane, who also provided explanatory notes for each track (some for the rarities could have been slightly more detailed). Although I am glad that Alagna isn't subjected here to the sugary publicity gush that most singers these days get in their CD booklets (so much for him being 'overhyped'!), it's a pity that there is no biographical or career information about him or de Billy.

I really hope that Alagna gets his wish to have some of these and other rare operas recorded in their entirety and staged, but I doubt if the political and economic situation in the opera world will permit it. Even if performances or complete recordings are impossible, Alagna absolutely must record many more solo French albums. A Berlioz disc with both Enee's and Hylas' arias from Les Troyens is essential. Certainly this wonderful stage comedian should also record more comic repertory. And of course, he should continue to bring us many more recordings of arias that haven't been recorded in ages, and even some world premieres. I also seriously hope that he gives us his interpretations of French song repertory as well. Frankly, if he wants to record the Paris phone book, that's fine with me too!

A truly great recording.......2001-06-10

This album is among the best I ever heard. Alagna's beautiful tenor tone is truly amazing throughout the CD and his perfect French diction is very enjoyable. After listening mr. Alagna's French I prefer him to anyone else I've heard singing this repertoire. IMO the loveliest songs are "Je pense à vous" with the easy high C# and the light "Vainement, ma bien-aimée". I think the arias from Le Cid and Samson are a bit too heavy for him, but however, he sings them with the great interpretative power. It's possible that he uses a little too much pianissimo in the Bizet aria, but on the other hand that's where I think his voice is at its best. Nothing can take the fifth star away! This CD will be with me anywhere I go...

Good but not great.......2001-05-23

I generally liked this recording because it presents much unfamiliar material (Mehul, Bruneau) combined with Mr. Alagna's excellent diction. However, after I unwrapped the CD, I immediately compared his singing of "Je crois entendre encore" with Jussi Bjorling and found it lacking. Bjorling lets you feel the melancholy of what the character had and lost. He is obviously reliving his memories. The pianissimo at the end is truly haunting. Mr. Alagna's soft notes seem almost mechanically manufactured.and sometimes border on the unpleasant. He was best in those pieces that required more spinto sound (the selections from Samson et Dalila and Le Cid, for example). I would recommend this recording if only for the unfamiliarity of much of the material.

Alagna is a stud.......2001-05-06

This CD is primo Alagna. Only his first recital and maybe the Rondine are better. People say he's in decline, but they just need to listen to the Gluck track on this CD. Or the Meyerbeer. Or the Gounod. It's all great. Yay Roberto!

Average customer rating:

One of the best

Classique

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

General | International | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Classic | Vocal Pop | Pop | Styles | Music

French Pop | Euro Pop | Pop | Styles | Music

General | Broadway & Vocalists | Styles | Music

Broadway & Vocalists | Imports | Stores | Music

International | Imports | Stores | Music

Pop | Imports | Stores | Music
ASIN: B0000084EF
Release Date: 1999-04-15

Tracks:

Franz
Qual Cor Tradisti
Andaluza
Adagio
Romance
Gloria Eterna
Aranjuez Mon Amour
Voi Che Sapete
Habanera
Te Chante Avec Toi Libert
Una Furtiva Lagrima
Mon Dieu
Serenade
Plasir d'Amour
Casta Diva
Der Lindenbaum
Recuerdos de la Alhambra
Ave Maria

Album Details

L'original Album. Reissue of the Classic Album.

Customer Reviews:

One of the best.......2003-10-17

Most surprising for any CD/Album every song is a familiar classic and I like each song. Her voice is superb and magnificent and touches and revives many senses and emotions.

Average customer rating:

Berlioz: The Complete Operas

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
ASIN: B000025VM7
Release Date: 2002-03-11

Tracks:

Overtura
Scena1a
Scena1b
Scena2a
Scena2b
Scena3a
Scena3b
Scena3c
Scena4a
Scena4bscena5
Scena6
Scena7a
Scena7b
Scena8a
Scena8b
Scena8c9y10a
Scena10by11
Scena12a
Scena12b
Scena13finale_a
Scena13finale_b
Scena13finale_c
Scena13finale_d
Scena13finale_e
Scena13finale_f
Tableau_bild3_a
Tableau_bild3_b
Tableau_bild3_c
Tableau_bild3_d
Tableau_bild3_e
Tableau_bild3_f
Tableau_bild3_g
Tableau_bild3_h
Tableau_bild3_i
Finale_a
Finale_b
Tableau_bild4_a
Tableau_bild4_b
Tableau_bild4_c
Tableau_bild4_d
Tableau_bild4_e
Tableau_bild4_f
Tableau_bild4_g
Tableau_bild4_h
Finale
Overtura
Actoprimero_a
Actoprimero_b
Actoprimero_c
Actoprimero_d
Actoprimero_e
Actoprimero_f
Actoprimero_g
Actoprimero_h
Actoprimero_i
Actoprimero_j
Actoprimero_k
Actoprimero_l
Actoprimero_m
Entreacto
Acto_segundo_a
Acto_segundo_b
Acto_segundo_c
Acto_segundo_d
Acto_segundo_e
Acto_segundo_f
Acto_segundo_g
Acto_segundo_h
Acto_segundo_i
Acto_segundo_j
Acto_segundo_k
Ha! Ha! Apr Dix Ans
Les Grecs Ont Disparu...Malheureux Roi!...Chore...C'est Lui!
Reviens Toi, Vierge Ador!...Pauvre e ar!...Si Tu M'aimes, Va -T'en...Mais Le Ciel Et La T
Dieux Protecteurs De La Ville ernelle
Combat De Ceste - Pas De Lutteurs
Andromaque Et Son Fils!
Du Peuple Et Des Soldats
Chiment Effroyable!
Que La Dsse Nous Prote...A Cet Object SacrFormez Corte, Enfant S
Non, Je Ne Verrai Pas La Dlorable Fe
De Mes Sens erdus...
Introduction Orchestrale...O Lumie De Troie!...Ah!...Fuis, Fils De V us
Quelle Espance Encor Est Permise...Le Salut Des Vaincus Est De N'enp Lus Attendre
Ah! Puissante Cybe
Tous Ne Piront Pas...O Digne Soeur D'hector
Complices De Sa Gloire...Le Tror! Le Tror!
De Carthage Les Cieux
Gloire Didon
Nous Avons Vu Finir Sept Ans Peine...Chers Tyriens
Entr Des Constructeurs
Entr Des Matelots
Entr Des Laboureurs
Peuple! Tous Les Hinneurs...Gloire Didon
Les Chants Joyeux...Sa Voix Fait Nare Dans Mon Sein
Echapp Grand Peine...Errante Sur Les Mers.
J'rouve Une Soudaine Et Vive Impatience
Auguste Reine, Un Peuple Errant Et Malheureux
J'ose Peine Annoncer La Terrible Nouvelle!...Annonce Nos Troyensl 'Entreprise Nouvelle...Des Ar
Chasse Royale Et Orage - Pantomime
Dites, Narbal, Qui Cause Vos Alarmes-
De Quels Revers Menaces-Tu Carthage...Vaine Terreur
Marche Pour L'entr De La Reine
Pas Des Alms
Danse Des Esclaves
Pas D'esclaves Nubiennes
Assez, Ma Soeur...O Blonde C
Pardonne, Iopas...O Pudeur! Tous Conspire
Mais Bannissons Ces Tristes Souvenirs...Tout N'est Que Paix Et Charme
Nuit D'ivresse Et D'extase Infinie!
Vallon Sonore
Prarez Tout, Il Faut Partir Enfin...Chaque Jour Voit Grandir La ColRe Des Dieux
Par Bacchus! Ils Sont Fous Avec Leur Italie!...
Inutiles Regrets!...Ah! Quand Viendra L'instant Des Supres Adieux
En!...
Debout, Troyens, eillez-Vous, Alerte!...Alerte!...Entendez-Vouz, Ami S, La Voix D'en-
Errante Sur Tes Pas...Italie!
Va, Ma Soeur, L'implorer
En Mer, Voyez! Six Vaisseaux!...Dieux Immortels! Il Part!...
Ah! Ah! Je Vais Mourir...
Adieu, Fie Cit
Dieux De L'oubli, Dieux Du Tare...S'il Faut Enfin Qu'en Aborde En Italie
Pluton...Semble M're Procipe...
Ah! Au Secours! Au Secours! La Reine S'est Frapp...Rome...Rome...Im Mortelle!...Haine ernelle

Average customer rating:

Chaliapin, the great Russian singer actor.
A Chaliapin feast

Chaliapin: A Vocal Portrait

Manufacturer: Naxos
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

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

General | Folk | Styles | Music
Similar Items:

Prima Voce: Chaliapin

ASIN: B00006RHPA
Release Date: 2003-01-21

Customer Reviews:

Chaliapin, the great Russian singer actor. .......2004-08-23

Born in the same year as Caruso and attracting the wild acclaim that used to be accorded to opera singers, Feodor Chaliapin is now featured in the Naxos "Great Singers" series. A selection of his acoustic recordings (1902-1924) occupy the first CD and a selection of his electric recordings (1926-1936), and in charge of restoration is Ward Marston.

Like Caruso, Chaliapin had a huge voice that nevertheless proved eminently compatible with acoustic recording processes. Indeed, collectors need not be deterred by the age of many of these recordings. Some of the very best items, whether opera or song, fall into the acoustic group. The 1911 recordings of Rubinstein's "Demon" excerpts, which I heard a few times many years ago and have never forgotten, are amongst the best of all in this entire selection.

Also like Caruso, Chaliapin's recording career owed much to producer Fred Gaisberg who, in his autobiography, allotted a whole chapter to this great singer. In recent times, eminent critic John Steane has named Chaliapin as one of the two or three great singer actors of the C20th. Gaisberg was responsible for recording the Prayer and Death of Boris during an actual performance of "Boris Godunov" at Covent Garden in 1928. Perhaps this best indicates Chaliapin's work as singer and actor. Another successful item here is the `Le veau d'or' from "Faust", which one critic has judged ideal for showing Chaliapin's special magnetism.

The notes provide an informative survey of Chaliapin's recording output. One error is the attributing some of the orchestral support in the recordings from the 1920s to the London Philharmonic Orchestra, and orchestra which was founded by Beecham in 1932.

A Chaliapin feast.......2003-02-14

It's nice of Naxos to collect in one place some of the most representative recordings of the great Russian basso, Fyodor Chaliapin. This is a 2CD set; the first CD is from the acoustic era of recording, the second from the electrical era. Not only are the expected arias and songs from the Russian literature represented, but also there are more than a few Italian/French/German selections.

There are two scenes from 'Boris Godunov': Varlaam's Song and the Farewell and Death of Boris. Three versions of Mussorgsky's 'Song of the Flea', from 1907, 1929 and 1936 (the latter his last recording) are included, all of them marvelous. Other highlights, made all the more effective by Chaliapin's amazing ability to act with the voice, are 'La calunnia' from 'The Barber of Seville' and 'Le veau d'or' from Gounod's 'Faust.' I also liked 'Chanson Bachique' by Glazunov, which I'd never heard before.

The sound is fantastic, the wizardry of Ward Marston who, along with Mark Obert-Thorn, is involved with Naxos's extensive re-issue of treasures from the history of the recorded voice.

Tracks:

Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Hor' Ich Das Liedchen Klingen
Die Rose, Die Lilie, Die Taube
Sie Und Ich
Menschenfeindlich
Chant Des Moissonneurs Vendeens
La Barque Legere
La Chanson De Maitre Floh
Sicilienne
Le Poete Mourant
Au Chevet D'un Mourant
Le Lazzarone
La Chanson Du Bebe
La Gita In Gondola ('Voli L'agile Barchetta')
II Rimprovero ('Mi Lagnero Tacendo')
Ave Maria
L'ultimo Ricordo

Customer Reviews:

Great!!!.......2003-12-11

I love this album! The Meyerbeer selections are enchanting, and they should be sung more often. The CD shows Hampson's careful artistry and it is a delightful collaboration with pianist Geoffrey Parsons.

Music Review:

Music Review

music review

Recommended Music:

Works Live [Import]

COLM CAREY : Music for Organ from The Tower of London

Gregorian Chants in Honor of Our Lady

Angel Eyes [Limited Edition] [Original recording remastered] [Import]

Couldn't Stand the Weather [Original recording remastered] [Import]

Fulfillingness [Import] [Limited Edition]

From The Gumbo Pot

Dvorák: Chamber Works, Vol.3

Flowers in the Wildwood: Women in Early Country Music [Import]

Fiesta Latina: Miami Beach Party [Import]

For Beginner Piano

Douce France [Import]

Fashionist?: A Cut Above The Rest

We Shall Behold Him: A Tribute to Dottie Rambo

Roll Call