Radio Doria

Radio Doria

Track Listings

1. Radio

2. Iguana

3. Death of a Day (I Heard This on the Radio)

4. What's the Matter?

5. Little Martyr

6. Last Man

7. Radio

8. What I Said

9. Lost

10. Every Dog

11. Another Man Done Gone

12. American Dream

13. Pledge

14. Flesh and Emotion

Tracks:

Prld - Orch Radio-Lyrique/Manuel Rosenthal
Act One: No.1 Intro: 'Sur La Greve En Feu' - Chor De La RTF
Act One: No.1 Scene Et Chor: 'Amis, Intercompez Vos Danses...' - Gabriel Bacquier/Chor De La RTF/Alain Vanzo
Act One: No.1 Recitatif: 'Mais Qui Vient La?' - Chor De La RTF/Gabriel Bacquier/Alain Vanzo
Act One: No.1 Couplet: 'Des Savanes Et Des Forets' - Alain Vanzo/Chor De La RTF
Act One: No.2 Scene: 'C'est Toi!' - Gabriel Bacquier/Alain Vanzo
Act One: No.2 Duo: 'Au Fond Du Temple Saint' - Alain Vanzo/Gabriel Bacquier
Act One: No.3 Recitatif: 'Que Vois-Je?' - Gabriel Bacquier/Alain Vanzo
Act One: No.3 Recitatif: 'C'est Elle, La Voici' - Chor De La RTF
Act One: No.3 Scene: 'Seule Au Milieu De Nous' - Gabriel Bacquier/Alain Vanzo/Jeanine Micheau/Chor De La RTF/Lucien Lovano
Act One: No.3 Scene: 'Brahma, Divin Brahma!' - Chor De La RTF
Act One: No.4 Recitatief: 'A Cette Voix Quel Trouble' - Alain Vanzo
Act One: No.4 Romance: 'Je Crois Entendre Encore' - Alain Vanzo
Act One: No.5 Chor Et Recitatief: 'Le Ciel Est Bleu' - Chor De La RTF/Lucien Lovano/Alain Vanzo
Act One: No.5 Scene: 'O Dieu Brahma' - Jeanine Micheau/Chor De La RTF/Alain Vanzo
Act Two: No.6 Scene: 'Les Barques Ont Regagne La Greve' - Lucien Lovano/Jeanine Micheau
Act Two: No.7 Recitatif Et Cavatine: 'Me Voila Seule...Come Autrefois' - Jeanine Micheau
Act Two: No.8 Ser: 'De Mon Amie' - Alain Vanzo/Jeanine Micheau
Act Two: No.9 Duo: 'Leila! Leila! Dieu Puissant!' - Alain Vanzo/Jeanine Micheau
Act Two: No.10 Final: 'Ah, Revenez A La Raison!' - Jeanine Micheau/Alain Vanzo/Lucien Lovano/Chor De La RTF/Gabriel Bacquier

Tracks:

Act Three: No.11 Entracte 'Orage' - Orch Radio-Lyrique/Manuel Rosenthal
Act Three: No.11 Recitatif Et Air: 'L'Orage S'est Calme...O Nadir' - Gabriel Bacquier
Act Three: No.12 Recitatif: 'Qu'ai Je Vu Leila!' - Gabriel Bacquier/Jeanine Micheau
Act Three: No.12 Scene Et Duo: 'Je Fremis...Qu'elle Est Belle!' - Jeanine Micheau/Gabriel Bacquier
Act Three: No.12 Recitatief: 'Entends Au Loin Ce Bruit De Fete!' - Lucien Lovano/Jeanine Micheau/Gabriel Bacquier
Part Two: No.13 Chor Et Danse: 'Des Que Le Soleil' - Chor De La RTF
Part Two: No.14 Marche Funebre: 'Sombres Divinities' - Lucien Lovano/Chor De La RTF
Part Two: No.14 Scene: 'Non, Ce N'est Pas Le Jour' - Gabriel Bacquier/Alain Vanzo/Jeanine Micheau
Part Two: No.14 Trio: 'O Lumiere Sainte' - Jeanine Micheau/Alain Vanzo/Gabriel Bacquier
Part Two: No.14 Trio: 'Ce Sont Eux, Les Voici!' - Gabriel Bacquier/Alain Vanzo/Jeanine Micheau
Part Two: No.15 Final: 'C'est Lui Le Traitre' - Lucien Lovano/Gabriel Bacquier/Chor De La RTF/Jeanine Micheau/Alain Vanzo
Faust: Recitatif Et Air 'Quel Trouble Inconnu...Salut, Demeure' - Alain Vanzo
Romeo Et Juliette: Recitatif Et Air: 'L'Amour!...Ah, Leve-Toi, Soliel!' - Alain Vanzo
Romeo Et Juliette: Cinquieme Acte Integral. Avec Andree Esposito - Alain Vanzo
Mireille: Duo Vincent-Mireille: 'O Magli' Avec Andree Esposito - Alain Vanzo
Les Vepres Siciliennes: Recitatif Et Air: 'C'est Guy De Monfort...O Jour De Peine' - Alain Vanzo
Don Carlos: Recitatif Et Air: 'Je L'ai Perdue!...Je L'ai Vue' - Alain Vanzo
Manon: Entree De Des Grieux Et Duo De La Recontre: 'J'ai Marque L'heure De Depart' Avec Renee Doria - Alain Vanzo

Customer Reviews:

Divine...........2006-10-15

I've had this since it first showed up and was looking for another when I found that the section for this was only recognizable by the artwork on top of the jewel box. If Amazon is reading this, the site needs to be corrected for someone who is really going to be confused.

This is some of the finest perfume.... the lyricism, the romance never flags... yet we have a buddy opera, more or less. I can't recommend this marvelous music too highly.

Nancy Eckert

A divine pearl.......2005-09-30

I've just recently bought this opera and haven't yet managed to find the libretto with English translations on the internet so at the moment I'm a bit left in the dark when it comes to the understanding of the opera. However, what I do understand is that this recording is divine. Alain Vanzo, Jeanine Micheau and Gabriel Bacquir are all in wonderful voice. Especially Alain Vanzo possesses a voice which contains so much beauty; it's just so delicate, sometimes almost feminine sounding. Some of the arias are achingly beautiful and I can listen to them over and over again. Before buying this opera I listened to the different recordings on Amazon to find the most perfect one and when I came to this one my mouth just fell open with amazement when hearing "Au fond du temple saint", the duet with Gabriel Bacquir and I was unable to tear myself away from it. Listening to Bacquir singing is also pure pleasure.

It's almost unbelievable that this is a live recording from 1959; the sound is surprisingly good. The idea of adding bonus tracks to this recording featuring Vanzo singing operatic arias from other well-known operas, I find very attractive. His singing is absolutely wonderful.

The only complaint I have is the lack of libretto. Other than that this is a recording of the pearl fishers I can heartily recommend.

A pearl richer than all his tribe.......2005-08-11

Source: 1959 live performance.

Sound: Good to very good mono, better than might reasonably be expected from a live performance of its time.

Documentation: No libretto. Brief summary of the plot. Track list.

Cast: Nadir - Alain Vanzo; Zurga - Gabriel Bacquier; Leila - Janine Micheau; Nourabad - Lucien Lovano. Conductor: Manuel Rosenthal.

Text: This is the familiar 1893 version of "Les Pecheurs de perles," assembled for the first French revivals of the opera after the composer's death. The good, grey Gramophone Magazine is pleased to call this version "discredited," since a critical text published in 1975 purported to restore the opera to Bizet's original form. The 1893 version is still, I believe, the one to which most people are accustomed. This is because the most obvious of the many changes involves the best known number in the show, the big tenor-baritone duet, "Au fond du temple saint." The familiar concert version of the duet, with its almost classical symmetry, is in fact from 1893. To hear the asymmetric version of 1863 for the first time is a shock, a quite unpleasant one, like taking an additional and unnecessary step off the end of a stairway.

Alain Vanzo re-recorded the part of Nadir nineteen years later, displaying small changes over the nearly two decades. His voice was a little brighter in 1959 and a little stronger in 1978. If his sense of drama was a little more finely honed in 1978, his performance is more smoothly blended into the conductor's vision of the operatic whole in 1959. (I saw Vanzo just once, as Faust. I had never heard of him and had no notion of what he was all about, but by the time the performance was finished, I believed he was the best French tenor in the whole, wide world. All these years later, I can name only Georges Thill and French Canadian Leopold Simoneau as rivals for that title.)

Soprano Janine Micheau, had more vocal power and greater dramatic oomph than Pierette Alarie, who had admirably recorded the part in 1953, but she could not match her predecessor's lieder singer delicacy or her wonderful agility of voice.

Recordings of "The Pearlfishers" have tended to be fortunate in the casting of the tenor and the soprano and dead unlucky with regard to the baritone. Zurga's long, soaring, exposed passages demand voices and training of a sort that have not been common for eighty years or more. The focused voice of that consummate pro, Gabriel Bacquier, offered a welcome exception to that rule. (Although I have not heard him in the part, I am happy to take the perceptive Mr. Lipscomb's assurance that the always fine Michel Dens is as good or even better.)

In reading Mr. Lipscomb's review, it struck that he was onto something when he wrote of reducing his collection to just two sets of "The Pearlfishers," this one and the 1953 set with Simoneau and Alarie, conducted by Jean Fournet. I am inclined to dismiss all the post-1975 recordings of the reconstructed 1863 version on the basis of text alone, but there is also the matter of the modern, international, one-size-fits-all style for both orchestras and singers. It seems to me that the sets of 1953 and 1959 represent the range of the traditional French style, its yin and yang. Fournet's "Pearlfishers" is elegant and precise as a Paris gown. Rosenthal's "Pearlfishers" is suave, self-assured and, oh, so Gallic.

I wrote about this set in January 2001 on the assumption that its merits were universally known, so I concentrated on praising the marvelous but under-appreciated tenor, Alain Vanzo. At the time, I was excessively concerned for the sensibilities of the delicate creatures who must have state-of-the-art DDD stereo clarity or suffer the vapors, so I gave it a beggarly four stars. I am no longer sympathetic to the quirks of hyper-refined audiophiles. This is a great performance. If ever a performance deserved five stars, this is it. This is the gem of Gala's tawdry crown, the thing that leads me to hope that some good may yet arise from that company's product line, despite a lengthy series of disappointments.

A Genuine Pearl.......2004-05-17

What a shame that the exquisite French style of singing and orchestral playing, so magnificently on display here, has become something of a lost art. I have owned six different recordings of this lovely little opera but, in the interest of shelf space (and sanity!), I recently decided to keep just two of them: this wonderful Rosenthal-conducted 1959 live performance, and the 1953 studio recording conducted by Jean Fournet.

The old Rene Leibowitz set (now on Preiser) featured fine conducting and the lovely Leila of Mattawilda Dobbs - but the tenor and baritone were not at the same level . The Dervaux was okay, but Gedda sounded too strenuous and Micheau was nowhere near as commanding as she is here with Rosenthal. I was more reluctant to let go of the Cluytens set - fine conducting, an excellent if small-voiced tenor (Legay), and the finest Zurga on records in Michel Dens (although Bacquier here is very nearly as good, if a trifle hammy). I also had the recent Plasson set, which offers the complete original text and modern recorded sound. Sadly, it is all downhill from there: the conducting is a bit wooden and unimaginative, the French orchestra lacks the wonderful billowing horns and fruity woodwinds of earlier French ensembles, and the singing - well, it's just not in the same league.

Fournet's set, with the old Orchestre des Concerts Lamoureux, is the best studio effort. The playing is richly old-fashioned, the great Leopold Simoneau is ineffably poetic, and his real-life wife Pierrette Alarie is a lovely small-scale Leila, a bit fragile but utterly charming. The only real weakness is Rene Bianco's rather wooly-voiced Zurga - but he has his heart in the right place, and his voice blends nicely with Simoneau's in the great duet scene. I cannot decide between the more subtly expressive singing of Simoneau (with Fournet) versus the refulgent beauty of Vanzo's higher tenor (with Rosenthal). What an embarrassment of riches to have them both!

Rosenthal has long been one of my favorite conductors - his recordings of Ravel, Debussy and Offenbach are non-pareil. The real surprise in this set, for me, is the stunningly gorgeous singing of Janine Micheau - this is one great performance!

If you love fine French singing and conducting done with heart and style, you really need to have both Fournet and Rosenthal. After all, aren't two Pearls always better than one?

My review.......2003-02-17

I have not listened to this recording yet. However, from the other reviews listed here, it sounds like a great recording. Therefore, I am giving it five stars. One comment. How dare that person from Sweden accuse Nicolai Gedda of being strained and dull in the role of Nadir. Gedda was very comfortable with roles that had high tessituras. He was also dramatically committed to every role that he ever sang. He was always elegant and refined, never coarse. Others acted more passionately, but many of those also acted crudely. He never did. He was a great Huon in Weber's "Oberon", Benvenuto Cellini in Berlioz' opera of the same name, and Chapelou in Adam's "Le Postillon de Lonjumeau". He was also a great Arnold in the first recording of the French version of Rossini's "Guillaume Tell". He is also half Swedish.

Average customer rating:

Thomas: Hamlet (Highlights)

Manufacturer: Malibran [C.D.R.G.]
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B00004YLIP
Release Date: 2000-09-19

Average customer rating:

OK
Amazing experience
Wow!

Radio Doria
Doria Roberts
Manufacturer: Hurricane Doria
ProductGroup: Music
Binding: Audio CD

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Traditional Folk | Folk | Styles | Music

Singer-Songwriters | Pop | Styles | Music

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General | Folk | Indie Music | Stores | Music
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ASIN: B00005403A
Release Date: 2000-11-21

Tracks:

Radio
Iguana
Death of a Day (I Heard This on the Radio)
What's the Matter?
Little Martyr
Last Man
Radio
What I Said
Lost
Every Dog
Another Man Done Gone
American Dream
Pledge
Flesh and Emotion

Customer Reviews:

OK.......2005-05-12

Not the best album I've heard, not the worst. Has several decent songs on it.

Amazing experience.......2001-06-16

This is an amazing CD...She is the most amazing musician you will hear this year. Doria has a beautiful voice, thoughtful lyrics and intense instrumentation- a refreshing break from the cotton-candy xeroxed "musicians" pummeling us from most directions. Tell your friends about her.

Wow!.......2001-01-05

I bought this CD at a show in Alanta in December, and I can't forsee taking it out of my CD player. Her socially responsible lyrics sung in her amazing voice inspire me every time I listen.

Music Review:

Music Review

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