1916

1916

Track Listings

1. The One To Sing The Blues

2. I'm So Bad (Baby I Don't Care)

3. No Voices In The Sky

4. Going To Brazil

5. Nightmare/The Dreamtime

6. Love Me Forever

7. Angel City

8. Make My Day

9. Ramones

10. Shut You Down

11. 1916

Editorial Reviews
Amazon.com
Few bands can experience the constant personnel shifts that have plagued Motörhead and still manage to keep their signature sound intact. Bassist Lemmy Kilmister--the only original member to hang on for the band's entire wild ride--had a vision of proto-thrash-metal that has proved too pure and simple to ever require tinkering. Recorded more than a decade and a half into the band's career, 1916 offers a high-energy mix of bone-crunching metallic mayhem that is loud, fast, and intense but never takes itself too seriously. A piece of seriocomic braggadocio such as "I'm So Bad (Baby I Don't Care)" or "Ramones," a nod to the pioneering punk band, is typical. A notable exception, however, is the title track, a bleak ballad cataloging the horrors of World War I through the eyes of a doomed teenage soldier. --Daniel Durchholz

Customer Reviews:

Best Complete Symphonies You Could Purchase.......2007-02-25

Having heard the sixth symphony on a radio broadcast (albeit missing the second movement because of problems at the station), I decided to go out on a limb and buy the complete symphonies, being completely unfamiliar with Atterberg.

It was a decision I do not regret.

Atterberg's complete symphonies has to be the best CD purchase I have ever made, out of a collection of 500 some classical CDs. There's nothing revolutionary about Atterberg's music. He takes what has been done already, and does it better, to the extent that this in and of itself is the revolutionary component of the works. Sometimes, it can even be frustratingly simple, such as how he insists time and again to end a movement or work with a V, I. Yet the depth, the color, the masterful orchestration: Atterberg's music is worth a hear, whether you are a fan of the twentieth century serialism or Baroque period music. Especially listen to this music if you are attracted to the music of Sibelius, Howard Hanson, Hugo Alfven, or David Del Tredici.

When I buy a complete symphonies set, I am sometimes overwhelmed and do not know where to go with it. So hopefully this plan will help those who wish to listen:

A) Start with the sixth symphony. The melody, orchestration, and tempo are especially enjoyable. Atterberg composed this for a Franz Schubert contest and won. (Originally, the contest called for a completion of his unfinished symphony, but it was so controversial, that the idea was dropped.) Atterberg decided not to show at the awards banquet since he didn't want to applaud the victory of another composer. How suprised he was the next morning when he saw the newspaper headlines!

B) Then listen to the third. The first and third movements are gentle and have soaring, gorgeous moments, while the second is a loud storm, reminiscent of Britten's storm in Peter Grimes.

C) The second symphony is stylistically similar to the third, with the first and second movements containing triumphant and broad, yet gentle sections. The second movement is especially colorful, and is my favorits movement of all the symphonies. The last movement was written after a frustrating performance of his Suite No. 1 that went sour due to poor musicianship. Thus, it's sort of a loud and forceful, though not angry, response.

D) The first symphony sets the foundation for the second and third. This is one of his three four-movement symphonies. Thus, we're treated to a scherzo that is well-worth its insertion. The second movement resembles the slow, broad movements of Atterberg's other symphonies you have heard thus far.

At this point, you may wish to listen to the River piece, included as an extra work in the complete symphony set.

E) The eigth symphony is Atterberg's other four-movement work. Once again, a beautiful Scherzo, and a complimentary slow movement that is more exploratory and dismally curious in nature than previous slow movements. The first and fourth movements show a more rough side of Atterberg.

F) The fifth symphony, the "funeral," is written in a darker, more abysmal style with alightly more dissonance and conflict than what the listerner is used to hearing. The second movement, however, is characteristic of Atterberg's slow movements, except more mournful and longing. The forward-movement leading to the climax leaves the listener clinging to every chord progression and does not fail to deliver a fulfilling revelation at the end with a thematic call of the brass and shrilling, pulsating strings. The counterpoint amongst the strings is also gripping. The third movement recalls moments of conflict from the first movement and the serenity from the second, but ends with a heavy waltz, sort of like dancing in 3/4 time with Death himself, except he weighs 500 pounds.

G) The fourth symphony is a smaller work consisting of four movements. The highlight is the second movement, which is the slow movement; it's soft and introspective. The other three movements are loud and violent.

H) The seventh symphony, which is the Romantic, was where I started when I got the set. However, it was difficult listening at first. The first and third movements are loud and heavy on the brass, symbols, and drums/timpani. The second movement is typical slow-movement Atterberg.

I) The ninth symphony is different than the previous eight symphonies. It's more of a cantata of Norse mythology. The writing is somewhat peculiar for Atterberg. The work alternates between violence and stillness, all leading up to the final doomsday battle. The symphony employs several soloists and a chorus.

If you find that you have enjoyed this symphony set and want to hear more, the Piano Concerto and the Horn Concerto may be logical next steps. Also, try some of Atterberg's chamber pieces. He wrote a piano quintet that is an arrangement of the sixth symphony.

Also, if you haven't heard them yet, listen to Howard Hanson's second, third, and fourth symphonies; Melartin's third and fourth symphonies; Alfven's fourth symphony; and Del Tredici's In Memory of a Summer Day. The orchestration, style, and depth are compliments to Atterberg's works.

A NEW HORIZON FOR SYMPHONY LOVERS..........2007-01-19

Mahler, Strauss, Tchaikovsky, Rachmaninoff, Respighi, Sibelius, Vaughan-Williams, Mussorgsky... and let us not forget Atterberg.

If you're like me, you have a passion for diving into lesser known symphonic realms, because a familiarity with the standard orchestral repertoire has created a need for new horizons. Reading a few reviews of Atterberg symphonies was enough for me to trigger my "impulse buy" mechanism. When the CD's arrived, I told myself that I would do the whole symphony cycle in one day (5+ hours end to end) no matter what I thought. I failed because I was unable to restrain myself from listening to these symphonies again for a second, third or tenth time. The SECOND SYMPHONY is by far my favorite. The sweetness of Sibelius with Mahler style brass along side the passion of Rachmaninoff, take you on a exciting journey through the possibilities of Swedish music. The second movement starts with a beautifully soft adagio of intimacy and love that ends up evolving into a monumental cadencial moment for Horns, Trumpets, Trombones and Strings. In the final movement, we find a fiery orchestral movement reminiscent of a Franck or Dukas symphony, with an evolved form of the second movement theme returning to vanquish the flames with a magnificent maestoso. The passion level in Atterberg's symphonies rival those of Mahler (my most favorite composer).

Every symphony in the Box is worth a listen, most of them are worth at least 10 listens. The THRID and SIXTH SYMPHONIES were worth that much to me. The only thing negative that I can say, is that none of the music takes me in a direction I've never seen before, with an exception of The NINTH "Sinfonia Visionaria." It is a very innovative and progressive piece with a baritone, alto and full chorus.

Bravo to the four German symphony orchestras that make this set, Frankfurt's was probably the best. There is more than enough zeal and enthusiasm contained within these disks for everyone to enjoy.

-Andrew Somerset

Food for living!........2006-09-04

Not being a professional musician (an acomplished amateur, though, who, as a boy soprano was once conducted by Bernstein--harrumph!), I could not add significantly to the elegant reviews already posted. Suffice it to say, Atterberg's symphonies just make me glad to be human. I return to them regularly for spiritual uplift. Along with Bax and Vaughan Williams, they have become some of my very favorite things.

A brazen romantic.......2006-08-01

Today, the Swedish romantic composer Kurt Atterberg (1887-1974) is not widely known. His symphonies -- he composed nine -- are rarely performed. But during the first half of the last century, most of his symphonies were hailed with international praise and support. They were performed by such conductors as Herrmann Abendroth, Wilhelm Furtwängler, Arthur Nikish, Leopold Stokowski, Richard Strauss, Siegmund von Hausegger, and Thomas Beecham.

Atterberg's lifespan stretched into the second half of the twentieth century. But his compositional style remained firmly rooted in the musical expressions of the late romantic tradition, which flourished around the shift of the penultimate century, 1890-1910. As in the case of Arnold Bax, he was indeed a "brazen romantic." Thus his music is akin to that of Dvorak, Smetana, Bruckner, Mahler, Stenhammar, Elgar, Richard Strauss, Bax, Sibelius, and Vaughan-Williams, even if he had a style of his own. But he was reluctant to link it to early modernism and its atonal chromatism, as, e.g., Mahler, Richard Strauss, Vaughan-Williams and even Sibelius did. The musical world of atonal modernism was almost completely alien to him. His last, and very compelling symphony, called "Visionaria", was composed in 1956, and it has the form of an oratorio for mezzo, baritone, choir and orchestra, using texts from the Poetic Edda. Despite its late composition date, it shows just a few traces of atonal modernism, with twelve-tone rows in some of its melodies. It is basically a complex late romantic work, and, as such, perhaps comparable to the early Schoenberg's "Gurrelieder".

But don't let Atterberg's romantic conservatism prevent you from experiencing the astonishing beauty and power of his music. His symphonies are passionate, intense, very well composed, and often based on old Swedish folk tunes (this is especially the case with the eight symphony). The sound is thus very "Nordic," comparable to that of the early Sibelius (which, of course, was a greater composer than Atterberg - but he nonetheless recognized the quality of Atterberg's music). And in my view, among all his fine symphonies, the blazing first, the nostalgic and powerful second, the pastoral third, the dark and frantic fifth, the parodic sixth, and the enigmatic ninth are truly memorable and moving masterpieces that should belong to the standard repertoire of late romantic music (his second and fifth are my personal favorites).

Ari Rasilainen's Atterberg cycle is the first on disc. Raslilainen is a young Finnish conductor (b. 1959). It is perhaps not a surprise that a Finnish conductor supports an unfairly forgotten Swedish romantic composer. After all, if you love and understand Sibelius' early works, which I suppose most Finnish musicians do virtually by birth, you will probably appreciate Atterberg's music as well. Regardless or not if this holds in the present case, it is clear that Rasilainen is the best interpreter of Atterberg that we now have on record. Because this set is a reference set, in all aspects. First, Rasilainen's interpretations are first class -- he knows his Atterberg by heart. Second, without an established performing tradition behind the back, the German orchestras (Radio-Philharmonie Hannover des NDR, Radio-Sinfonie Frankfurt, SWR Radio-Sinfonieorchester Stuttgart, and NDR Radiophilharmonie) play with perfect confidence and brio. Third, a spacious and clear recording catches every note.

For a reasonable price, you have a splendid piece of almost unknown music in this set, beautiful and beautifully performed and recorded. It is thus an essential purchase for everyone interested in the aftermath of late romanticism in music during the twentieth century.

Strongly recommended!

The Complete Symphonic Oeuvre of a Swedish Romantic.......2005-03-07

This box set (5 CDs) is a compilation of performances issued separately previously. It comprises all nine symphonies of the Swedish romantic composer Kurt Atterberg (1887-1974; pronounced, approximately, 'Atterberry') in sterling performances. And it's all at budget price.

I will not review the individual performances here as there have already been some very good reviews posted here at Amazon for each of the separate releases. [Simply do a search here at Amazon using the keyword 'Atterberg' and links to all of the symphonies will come up.] I would also suggest you give a listen to the sound samples at various of the symphonies to get an idea of what they are like. My own favorites are Nos. 7 & 8, but others might want to start with No. 3 (that third movement is extraordinarily lovely and well-played by Rasilainen and his orchestra.] All of them have been reviewed by Swedish music maven David Hollingsworth. I've reviewed the 7th and 8th symphonies and Thomas Bertonneau has reviewed No. 9. No need to repeat all that here. We all agree that these are excellent performances of symphonies that are in the post-Straussian Romantic style. If you like that sort of music I can pretty much guarantee you'll like these.

Scott Morrison

The Music Of Satie: Orchestra, Piano, Voice

Average customer rating:

Buy it for the songs
A Laughably Cheap Way to Experience Satie

The Music Of Satie: Orchestra, Piano, Voice

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Satie: Orchestral Works
Satie: Piano Works
A Mammal's Notebook: Collected Writings of Erik Satie (Atlas Arkhive , No 5)
Satie: Piano Music
Homage to Satie

ASIN: B000001K4B
Release Date: 1994-08-22

Tracks:

Je te veux
Tendrement
La diva de
La statue de bronze
Dapheneo
Le chapelier
Trois poemes d'amour
Elegie
Danseuse
Chanson
Adieu
Air du rat
Spleen
La grenouille Americaine
Air du poete
Chanson du chat
Choral Hypocrite
Fugue a tatons
Fantaisie musculaire
Pastorale
Choral
Fugue
Choral
Fugue Litanique
Autre choral
Fugue de papier
Maniere de commencement
Prolongation du meme
Lentement
En leve
Brutal
En plus
Redite
Entr'acte cinematographiquie from the ballet

Tracks:

Parade
De l'enfance de Pantagruel
Marche de Cocagne
Jeunesse de Gargantua
Piege de Meduse
Allez un peu
Sombre
Un pen vif
Les Pantines dansent
Grande ritournelle
Marche Franco-lunaire
Valse des mysterieux baiser dans l'oel
Cancan grand mondian
Socrate: Part I
Socrate: Part II
Socrate: Part III

Customer Reviews:

Buy it for the songs.......2005-07-20

For my money, this disc is worth its weight in gold for the magnificent performances of the songs by Elaine Bonazzi and Frank Glazer. Bonazzi's voice is a rich mezzo and her French is impeccable. Furthermore, she invests the songs with just the right amount of wry sophistication. Her personality really brings these little jewels to life. Frank Glazer is the knowing accompanist. You won't be disappointed!!

A Laughably Cheap Way to Experience Satie.......2003-01-08

If you ever wanted to expose yourself to the music of Erik Satie but were not sure where to start, this is your disc. If you are turned off by all of the Satie albums marketed as "the world's most relaxing music" this is also your disc. If you've always thought of Satie as a hack of meagre talent who hid his lack of ability under a facade of cool surrealistic irony, this is your disc. For just over ten dollars, this disc shows Satie in all of his range, from pop cabaret song composer, to artist of exquisite sensibility. At this price, you should lap this one right up.

Most of these recordings are reissues of earlier Vox material from the 70's. I have most of the originals in either tape or LP form, but cannot review absolutely everything on the CD, due to holes in my collection. But what I do know from this series is terrific. The vocal music covers most of Satie's most important music in this form. Je Te Veux and Tendrement are both cabaret pieces, and as such they are revealing of Satie's melodic gifts, gifts not readily apparent in his other work. Both are luxurious 19th century salon pieces in the best sense of the word, well crafted and graceful for the voice. Some of the later songs, including the brilliantly surreal Luditions are exactly what you would expect Satie to write, quirky and yet with something deeper underneath.

The duo piano music is largely unknown to me, with the exception of the Three Morceaux in the Form of a Pair. This piece is very similar to other Satie solo piano works, charming, and seemingly lightweight, but with some disquieting undertones hidden under a childlike exterior.

However the real reason to get this CD is for the orchestral and dramatic works. Parade is a classic of it's kind, the first ballet about nothing to be produced. Concieved by Cocteau, with set and costume design by Picasso and choreography by Massine (i think)the work was a success du scandale in Paris. Musically, Satie's orchestrations are clever and very well balanced and his music is somewhere between minimally brilliant and banal. The banality is an essential part of the work however, so I don't mean this as a criticism.

Relache may have been Satie's most revolutionary work. It is the antithesis of the omnipresent Gymnopodies. This is almost a harsh work, though not in the sense of harsh dissonance. It is devised around a very limited series of ideas and repeats those ideas in subtly varied ways throughout it's length. As such, the work predates minimalism by about 50 years. Satie was often sited by Cage as a major influence. It's easy to believe that this is the work that was most influential on him.

I do know the other works on this album as well, but the real masterpiece is Satie's Socrate. Socrate reveals a side of Satie that is not usually evident, his serious and very spiritual side. Socrate is a "dramatic" scene for orchestra and voice, setting three sections of the dialogues of Plato. Satie is completely serious in these works, composing a flowing, austere vocal line that sets the Socratic dialogues in relief in all their stark beauty. Rather than manipulate the emotion, Satie aims for an almost antique atmosphere, with subtly moving instrumental lines and modal melodies. The work is less dramatic than hypnotic and as such Socrates' death at the end of the third scene is deeply moving. Until I had heard this work (recommended to me by my composition teacher in college) I had no idea that Satie could be such a powerful composer. Socrate is years ahead of it's time, exerting a powerful influence on Cage (who's Cheap Imitation I is an aleatoric reworking of the material of this piece), Lamonte Young, Glass and latterly Arvo Part. This work alone is worth the price of the CD. Add to that the chance to hear excellent renditions of Relache and Parade and the CD is self-recommending. Anyone interested in the roots of modern music would do well to own this CD.

1916
Average customer rating:

Motorhead rejuvenated

Motorhead Classic!

"Should Be" classic!

Motorhead throws a wild curve

1916 -A Must

1916
Motörhead
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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March or Die

Sacrifice

Overnight Sensation

Orgasmatron

We Are Motörhead

ASIN: B0000027EP
Release Date: 1991-02-26

Tracks:

One to Sing the Blues
I'm So Bad (Baby I Don't Care)
No Voices in the Sky
Going to Brazil
Nightmare/The Dreamtime
Love Me Forever
Angel City
Make My Day
R.A.M.O.N.E.S.
Shut You Down
1916

Amazon.com

Few bands can experience the constant personnel shifts that have plagued Motörhead and still manage to keep their signature sound intact. Bassist Lemmy Kilmister--the only original member to hang on for the band's entire wild ride--had a vision of proto-thrash-metal that has proved too pure and simple to ever require tinkering. Recorded more than a decade and a half into the band's career, 1916 offers a high-energy mix of bone-crunching metallic mayhem that is loud, fast, and intense but never takes itself too seriously. A piece of seriocomic braggadocio such as "I'm So Bad (Baby I Don't Care)" or "Ramones," a nod to the pioneering punk band, is typical. A notable exception, however, is the title track, a bleak ballad cataloging the horrors of World War I through the eyes of a doomed teenage soldier. --Daniel Durchholz

Customer Reviews:

Motorhead rejuvenated.......2007-07-06

As a long term fan I have to say that I enjoy all the Motorhead lineups. After Orgasmatron and Rock and Roll, two good, but not *outstanding* albums Motorhead seemed to find a new inspiration somewhere. The album sounds much, I don't know, "fresher" than the two previous Campbell/ Wurzel albums. The production is better I think, but apart from that the songs themselves sound like the band have been doing some fine tuning. The first three tracks are all classic Motorhead, with some of the best solos they've ever recorded. Eddie Clarke may have been a hard act to follow, but Phil Campbell and Wurzel I think sometimes even succeed him in memorable solos. Going To Brazil and Ramones are those somewhat tongue in cheek songs that Motorhead sometimes do, and Love Me Forever contains what I think is the most spine tingling solo I've heard in rock.

Not everything hits the mark though. Make My day and Shut You Down are pretty bland songs, and Angel City I consider downright embarrasing.

The most notable song on the album however is of course the closer 1916, a genuine ballad. Surprisingly moving, it does show a side of Lemmy that the casual listener would never have expected.

One of the most notable albums on the Motorhead catalog.

Motorhead Classic!.......2007-02-01

1916 is one of the best metal and Motorhead
albums of all time! From the opening track
"one to sing the blues" and "I'm so bad baby
I don't care" this is just great rock. Then
it gets better with "no voices in the sky"
and the love ballad "love me forever" but
my favorite track is the title track with
just Lemmy and keyboards "1916" with the
great lyrics Lemmy is known for and here
he shines. Awesome track. The whole album
is great and of course the tribute song
"RAMONES"! I saw them on this tour and
they blew me away and even met Lemmy and
he bought me a drink! Cheers and long live
Motorhead! highly recommended!!!!!!!!!!

"Should Be" classic! .......2007-01-12

This one ranks among Motorhead's finest. No weak tracks and even a little experimentation (Nightmare/Dreamtime, 1916) which Motorhead rarely dwell into. This should be right up there with Ace Of Spades.

Motorhead throws a wild curve.......2006-11-27

While I remain loyal to the Eddie Clarke era of Motorhead, I must admit "1916" is as good as latter period Motorhead ever got.
The production is much better, with plenty of loud guitars and drums. If there is a weak spot, it would be that Wurzel and Co. are pretty generic players. The profiency is there, but not much originality exists.
To make up for that weakness, which has plagued all post-Clarke releases, with the exception of "Another Perfect Day", Lemmy throws in a keyboard heavy "Nighttime", an honest-to-God power ballad ("Love Me Forever"), a Ramones tribute, and most shocking of all, the title track and album closer, "1916".
Lemmy is a well-known war historian, definitely nobody's dummy, and here he laments a particularly horrible battle in WWI where 10,000 soldiers died before noon with neither side gaining an inch of ground. Set to a lonely mournful organ and a snare drum, Lemmy sings in a clear voice and by song's end, it's damn hard not to get a lump in your throat the first couple times you hear it, so surprising is the music, yet so perfect.
For this track and the stretching out of musical boundaries that Lemmy undertakes on "1916", it is an essential for Motorhead fans.

1916 -A Must.......2006-11-11

On 1916 Lemmy and Motorhead show that they can rock a ballad(Love Me Forever),blaze a little punk rock(RAMONES) and everything in between,this album is a must have for all Motorhead fans

Average customer rating:

The artistry and allure of a French nightingale
High note feast :)
Simply beautiful high notes
Mady Mesplé's wonderful album
A glorious bit of memorabilia from a sadly forgotten soprano

The Very Best of Mady Mesplé

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

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Airs D'opérettes
Very Best of
Natalie Dessay - French Opera Arias
The Very Best of Kirsten Flagstad
The Very Best of Lucia Popp

ASIN: B0006VYELY
Release Date: 2005-04-26

Tracks:

Ah!...Ou Va La Jeune Hindoue?
Ah! Je Veux Vivre
Oui! Pour Ce Soir...Je Suis Titania La Blonde (Polonaise)
Les Oiseaux Dans La Charmille
A Vos Jeux...Partagez-vous Mes Fleurs...Et Maintenant, Ecoutez Ma Chanson!
Una Voce Poco Fa
Ah! Non Credea Mirarti...Ah! Non Giunge
Di Piacer Mi Balza Il Cor
Gualtier Malde...Caro Nome
Il Dolce Suono...Ardon Gl'Incensi...Spargi D'Amaro Pianto

Tracks:

Quartet No.2 For Soprano, Violin, Viola, & Cello
In Furore Giustissimae Irae
I. La Dame D'Andre - Gabriel Tacchino
II. Dans L'Herbe - Gabriel Tacchino
III. Il Vole - Gabriel Tacchino
IV. Mon Cadavre Est Doux Comme Un Gant - Gabriel Tacchino
VI. Fleurs - Gabriel Tacchino
Les Chemins De L'Amour Op.106 (Anouilh) - Gabriel Tacchino
A Chloris (Viau) - Dalton Baldwin
Si Mes Vers Avaient Des Ailes (Hugo) - Dalton Baldwin
L'Heure Exquise (Chanson Grises, Verlaine) - Dalton Baldwin
Le Chapelier (Chalupt)
Dapheneo (Godebska)
La Diva De L'Empire (Intermezzo Americain) (Bonnaud & Bles)
Ecoutez, C'est Le Chant Des Cigales
Au Bord Du Chemin Qui Passa A Ma Porte
La Bergere Colinette (Villanelle)
Tout Est Soleil, Tout Est Printemps

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

The artistry and allure of a French nightingale.......2007-06-03

This is one of the rare cases when the title of a CD matches completely its content. The Very Best of Mady Mesplé showcases the amazing talent and legacy of the beautiful lady that was the star coloratura soprano of the Paris Opera during the second part of the twentieth century. The first CD is dedicated to opera arias, and only a hearing of the first number, The Bell Song from Delibes' Lakmé, gives us a summary of what makes Mesplé so special. There is hardly a more musical or virtuosic version than the one presented here (from her complete recording of the opera). The legend is presented by the soprano with engaging interest and great attention to the words. The bell refrains are amazingly fast, with diminutive stacatti, a great trill and ravishing high notes. The final cadenza is very exciting, ending with a firm, beautiful high E that soars triumphally over the orchestra. All these qualities are present when she is singing Juliette, Philine, Ophélie and Olympia. Particularly on this last aria she conveys in her voice the illusion of hearing an automaton instead of human being and there is no ornamentation except on an interpolated high Eflat at the end. It is remarkable how Mesplé always is musical with her ornamentation. The Italian arias that end the first Cd are very pretty, even though they are not as successful, given the distinctive sound of the soprano, more in her element with the nuances of her native language than the legato singing that is proper to the belcanto style. However, the arias are still lovely, specially Una voce poco fa, where Mesplé showcases not only her high register but also the lower part of her voice by singing the first part of "Io sono docile" exactly the way it is written. CD number 2 takes the listener to a totally different aspect of Mady Mesplé's artistry with incursions into contemporary music, a Baroque cantata, French art song and French operetta. The Quartet no.2, for soprano, violin, viola and cello is a very demanding piece where the soprano becomes another instrument: dissonant and difficult intervals are required in all the registers of the voice. The soprano succeeds on this as well as the motet by Vivaldi, a totally different number of equal difficulty. A great part of the CD is then dedicated to songs by Poulenc, Hahn and Satie, where the singer perfectly conveys the mélodie style with her very distinctive sound, that can convey all degrees of emotion, from innocence to worldliness. Specially remarkable are Poulenc's Le chemin de l'amour, Hahn's Si mes vers avait des ailes and Satie' La diva de l'empire. The final part of the CD is dedicated to French operetta arias, a very important part of Mesplés discography. All the selections are a delight. It is worth noticing that she recorded the virtousic aria from Massé's Les noces de Jeanette in 1981, in the later part of her career and there is no difference in the sound and technique from Mesplé's debut recordings. The CD ends in a high note (literally and metaphorically) with a delightful waltz by Johann Strauss where she ends with a stunning Aflat over high C. In summary, this is a superb presentation of the career of Mady Mesplé, a singer who was not only one of the most stunning coloraturas of all time, but also a gifted and versatile artist.

High note feast :).......2006-10-02

I love this set. Her voice is similar to that of Pons, but this is in clear stereo sound! And her highest notes don't sound like whistle tones! The Bell song won me over; Sutherland is still my favorite singer, but she did not have the acuti of Mesple. Very good listening here.It is all so effortless - that final note on CD 2 (A-flat above high c''') is astonishing!

Simply beautiful high notes.......2006-08-14

I feel ashamed of myself. Really. For all the years I have been listening to pons and sutherland and callas and the more recent dessay and jo, I never really paid attention to Mady Mesple. I really wished I had. Her voice is so pure and bell-like similar to Pons but with a much richer middle range and with the most impressive solid low range I have heard on a coloratura sopranos. It is a tragedy that she was over shadowed by the coloratura powerhouse which is Joan Sutherland. Her high notes are to die for and really it would hard to find anyone who can hit them like her. She may not have Pons agility but the lightness and tone of her high e flat can certainly go head to head with pon's and may possibly be a tiny step above pon's which up until this point didn't think was possible.

Mady Mesplé's wonderful album.......2005-08-30

I felt a sense of awe listening to Mady Mesplé's voice. Of the two CD set, I much prefered CD #1 as #2 was a bit too modern for me. #1 has many of my favorite soprano arias, and Mlle. Mesplé did them all justice.

A glorious bit of memorabilia from a sadly forgotten soprano.......2005-05-10

Mady Mesple is one of the best kept secrets of the music industry today. Of course, when you're singing around the same time as Joan Sutherland you're rather likely to be overshadowed. Still, Mesple offers a wealth of musical goods that even Sutherland never could have given. Not only is her coloratura technique virtually flawless, she (gasp)inflects every word she sings with great sensitivity to the text, never losing grasp of the character she is striving to portray. Of course, she does have a rather controvertial aspect to her voice that many listeners may object to, As a classic french coloratura, her vibrato is VERY fast, fluttering tremulously at all times but never getting in the way of her pitch. Still, her high notes are exceptional (the second CD ends with a glorious high A flat) and the fresh, girlish beauty of her tone is unsurpassed even today (my apologies to Natalie Dessay). Be sure not to miss her Bell Song, by FAR the best I have ever heard! Her voice has a crystaline quality that is PERFECT for that particular aria. Her Doll Song is rather weak, but her mad scene from Hamlet MORE than makes up for it (can we say eight seconds of beautiful high F harp?!!). The second CD offers Mady in a more matura phase of her life, singing sensuously in more traditional art songs before going on to challenging operetta arias. And you won't want to miss the violin, viola, cello, soprano quartet that opens the CD!!! Let's just say you're in for a surprise... this CD is a must-have!

Average customer rating:

Another Naxos treasure trove of rare gems
The cool air of the north...
The cool air of the north...
A wonderful introduction to Swedish classical music

Swedish Orchestral Favorites, Vol. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Swedish Orchestral Favourites
Finnish Orchestral Favorites
Scandinavian String Music
English String Miniatures
English String Miniatures, Vol. 4

ASIN: B00004SSJ7
Release Date: 2000-05-16

Tracks:

Lyric Fantasy, Op.54
Preludium
Gavott
Saraband
Siciliano
Final
Adagio
Allegro
Adagio Cantabile
Allegro Vivace
Allegro
Prelude
Pantomim
Vision
Adagio For String Orchestra, Op.48
Allegro
Adagio Cantabile
Allegro Vivace
Allegro

Customer Reviews:

Another Naxos treasure trove of rare gems.......2001-04-18

If you're looking for a collection similar in feel to Naxos' 1995 excellent "Swedish Orchestral Favorites" (8.553115), you won't get that here. That first disc is also a pleasure but it features works for larger orchestral forces.

For this second volume the works are presented in more intimate settings - usually for string orchestra or for several solo instruments backed by a string section. The results are delightful performances of rarely heard "lighter" works.

Larsson's "Lyric Fantasy", which opens the disc, immediately calls to mind Grieg as does Larsson's delightful "Little Serenade for String Orchestra" which reminds me of Grieg's "Holberg Suite" for similar forces. On the other side of the spectrum the Larsson's "Adagio for String Orchestra" is very powerful: dark and brooding.

The works by Atterberg, Blomdhal, and Rangstrom are also very pleasant finds. The work really stands out for me however is Frumerie's "Pastoral Suite for flute, string orchestra, and harp". The flute, beautifully played by Sarah Lindloff, is the star here and it is given some truly beautiful material. Some of the harmonies are very modern and I can't help but wonder if the composer was influenced by Bartok's "Romanian Dances" - the influence is especially evident in the Gavott and Siciliano.

Naxos once again provides an opportunity to explore neglected treasures in outstanding performances and at a bargain price at that.

The cool air of the north..........2000-07-21

This veritable gem of a CD arrived last week and has not been off my turntable since. It reveals the depth of quality serious music that has come out of Sweden over the past 100 years, notwithstanding its neglect in the UK at least. When my mind has formerly thought of the music of Scandinavia, I have had comparitively little to think about outside of Grieg, Nielsen ands Sibelius. This CD and its sister Swedish Music volume 1 show how the Swedes have their own national heroes that use those two sources of inspiration with as much aplomb as our English composers over the same period: folksong and landscape. This CD is for much more delicate forces than its sister but that does not mean we are short changed in emotion or substantial developmental writing. The Lyric Fantasy of Larsson is a summer tone poem after the manner of Delius (but without the chromaticism of 'the curate proselytising')and is nevertheless totally original in its mood and flavours. Its water colored hues takes us through a landscape filled with good things, like a child's garden bathed in sunlight as in T S Eliot's 'Four Quartets': 'Burnt Norton' where Eliot depicts our early years with devastating effect yet without cloying nostalgia. The flute comes into its own in de Frumerie's 'Pastoral Suite' which may be thought of as a 'Pastoral Flute Concerto': again we are in those summer days of long ago but now we have a little pathos and nostalgia added to the phrasing and harmonies with looking back in regret and a sense of loss. The influence of Ravel can be seen here but again it is nothing more than a cross reference, for the work here is totally original in scope, the nordic warmth being pastel in its intensity under the golden sun. The finely divided strings of Blomdahl's 'Adagio' are hushed and sad in a truly heart felt piece that is comparable to Grieg's own, with oboe and woodwind intoning birdsong against the sadness contained in the strings. Kurt Attenberg's Suite No 3 is redolent of Moeran's smaller pieces, packed with imaginatinative writing and clean authentic phrasing. Larsson's 'Adagio for string orchestra is only 5 minutes long but has that deep breathed atmosphere of a Shostakovich symphony, say the Largos of his 5th and 10th symphonies, where the Russian master can summon up the depths of a November night in the north and lead to a mood of introversion and deep melancholia. Despite its short duration, this is the 'biggest' work for me on the disc. It is truly awesome! In similar vein, the Rangstrom 'Divertimento elegiaco' is longer but perhaps its 15 minute length means it dissipates its pathos over too long a period. Perhaps that is just me, perhaps other listeners will form another view. Nevertheless, Naxos show once again that bargain price can walk hand in hand with superlative novel pieces for most of us, splendidly played and excellently recorded.

The cool air of the north..........2000-07-21

A wonderful introduction to Swedish classical music.......2000-05-18

It is good to be introduced to hitherto unknown composers and their music when it is all on such a high level. Having missed the first collection, I am delighted to report that on the friendly Naxos label (8.553715) is well worth the hearing. [The Amazon.com designation of Vol. V is incorrect.] As the liner notes put it, "Five composers who represent the rich tapestry of Swedish music composed in the twentieth century" are presented on this CD: Lars-Erik Larsson, Gunnar de Frumerie, Karl-Birger Blomdahl, Kurt Atterberg, and Ture Rangstrom.

This is my first experience with classical Swedish music and I am thoroughly impressed. The music is lyrical and passionate, now reminding one of the darker side of of the northern landscape as (say) in some Bergman films and now of the humor of "Smiles of a Summer Night" as these contrasting pieces are played by the Swedish Chamber Orchestra and soloists under Petter Sundkvist. And I do plan to get my hands on Vol 1, as soon as I can.

Lamento Borincano--Early Puerto Rican Music: 1916-1939
Average customer rating:

True sounds of a musical island.

Highly Recommended

Great compiation!!!

Old, rare recordings from off the beaten track

Homesick!

Lamento Borincano--Early Puerto Rican Music: 1916-1939
Various Artists
Manufacturer: Arhoolie Records
ProductGroup: Music
Binding: Audio CD

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Mountain Music of Puerto Rico

Bien Jibaro!: Country Music of Puerto Rico

1932-1939

Asi Canta Puerto Rico

Somos Boricuas: Bomba Y Plena En Nueva York

ASIN: B0000584VL
Release Date: 2001-02-27

Tracks:

Heroes De Borinquen - Canario Y Su Grupo
Sara - Quinteto Borinquen
Laura Y Georgina - Orquesta Euterpe
Si Me Quieres - Trio Borinquen
A Mi Madre - Trio Boricua
Purupita - Trio Boricua
Pobre Gaviota - Grupo Quisqueya
Bon Ye - Grupo Borinquen
Mi Patria Tiembla - Trio Borinquen
No Le Llores Miguel - Pleneros Surenos
Las Navidades - Pleneros Surenos
Antiguo Seis Borinqueno - Los Jardineros
Josefina, Josefina - Los Reyes De La Plena
El Nuevo Gobernador - Los Reyes De La Plena
Los Misterios De Lenox - Los Reyes De La Plena
Que Dulces Son Las Canciones - Los Reyes De La Plena
Adios Borinquen - Trio Ponceno
Cusita - Trio Ponceno
Mercedes - Los Jardineros
Anhelos - Trio Boricua
Fuego En La Cantera - Grupo Antillano
Fausto Y Su Ford - Grupo Antillano
A Lolita - Grupo Antillano
Todo Es Mentira - Grupo Antillano
Esperame En El Porton - Los Reyes De La Plena

Tracks:

Lamento Borincano - Canario Y Su Grupo
Quejas Del Ausente - Los Reyes De La Plena
Amor Sin Dolor - Canario Y Su Grupo
Cantares De La Sierra - Canario Y Su Grupo
Suenos De Vestales - Lira Boricua
Mis Amores - Lira Boricua
No Juegues Con Candela - Sexteto Flores
Mamita, Que Frio - Sexteto Flores
Siboney - Sexteto Flores
Polongui - Cuarteto Flores
Consejo A Las Mujeres - Canario
Llanto Del Campesino - Canario
Alegria Boricua - Grupo Aurora
Alma Boricua - Grupo Aurora
Mi Bien Baila El Son - Grupo Aurora
Pepina - Orquesta De Paco Duclerc
Alla Va - Canario Y Su Grupo
Tras La Tempestad - Canario Y Su Grupo
El Home Relief - Canario Y Su Grupo
Estan Tirando Bombas - Canario Y Su Grupo
Que Vivio - Canario Y Su Grupo
El Portal - Quinteto 'La Plata'
La Joven Que Yo Amaba - Quinteto 'La Plata'
El Dia De Los Sorullos - Conjunto Tipico Ladi
Para El Ano Nuevo - Conjunto Tipico Ladi

Amazon.com

Lamento Borincano is a wonderful collection of early recordings of Puerto Rican music that cover an astonishingly wide range of styles, from sophisticated danzas, which have a strong European influence, to the earthier sound of the seis jibaro and plena, which were created by farm workers and laborers, to the bolero, son, and guaracha, which were imports from Cuba. All these tracks were recorded in New York between 1916 and 1939, and because most of the musicians were recent immigrants making music for their homesick countrymen, the music still retains a strong island feel. This two-CD set includes a meticulously annotated 56-page booklet that contains biographies of the musicians, lyrics in Spanish and English, and a description of the musical styles. The engineers at Arhoolie have done an excellent job of cleaning up these old records, and even though the recordings were made in the first part of the last century, they are still very easy to listen to and exhibit almost none of the scratchiness that can mar reissues of 78s. Lamento Borincano is a strong reminder that Cuba is not the only Caribbean island that has produced exciting music played by world-class musicians. --Michael Simmons

Customer Reviews:

True sounds of a musical island........2007-05-21

Unique opportunity to listen to original recordings of Puerto Rico's music. A true valuable and musical document of a true musical island.

Highly Recommended.......2007-03-23

A rare find and a true classic in every sense of the word. If you want to delve deep down into the primorial history of Puerto Rican acoustic music, this collection is pretty hard to beat. Lamento Borincano is a wonderful collection of early recordings of Puerto Rican music that cover an astonishingly wide range of styles. These recordings include some of the oldest examples of the various danzas, plenas and guarachas that immigrant performers brought with them during the interwar exodus to New York City. All these tracks were recorded in New York between 1916 and 1939, and because most of the musicians were recent immigrants making music for their homesick countrymen, the music still retains a strong island feel.

The engineers at Arhoolie have done an excellent job of cleaning up these old records, and even though the recordings were made in the first part of the last century, they are still very easy to listen to. The fidelity of these recordings are surprisingly clear and exhibit almost none of the scratchiness that can mar reissues of 78s. Lamento Borincano is a strong reminder that Cuba is not the only Caribbean island that has produced exciting music played by world-class musicians. Of note are the rigorously PC liner notes, includes a meticulously annotated 56-page booklet that contains biographies of the musicians, lyrics in Spanish and English, and a description of the musical styles. The booklet touches (briefly but detailed) the development of Puerto Rican popular music in reference to American colonization and cultural cooptation... Politics aside, this is a outstanding collection, ideal for casual and/or serious student of PR musical culture. This two-CD set Recommended.

1. Heroes De Borinquen - Canario Y Su Grupo
2. Sara - Quinteto Borinquen
3. Laura Y Georgina - Orquesta Euterpe
4. Si Me Quieres - Trio Borinquen
5. A Mi Madre - Trio Boricua
6. Purupita - Trio Boricua
7. Pobre Gaviota - Grupo Quisqueya
8. Bon Ye - Grupo Borinquen
9. Mi Patria Tiembla - Trio Borinquen
10. No Le Llores Miguel - Pleneros Surenos
11. Las Navidades - Pleneros Surenos
12. Antiguo Seis Borinqueno - Los Jardineros
13. Josefina, Josefina - Los Reyes De La Plena
14. El Nuevo Gobernador - Los Reyes De La Plena
15. Los Misterios De Lenox - Los Reyes De La Plena
16. Que Dulces Son Las Canciones - Los Reyes De La Plena
17. Adios Borinquen - Trio Ponceno
18. Cusita - Trio Ponceno
19. Mercedes - Los Jardineros
20. Anhelos - Trio Boricua
21. Fuego En La Cantera - Grupo Antillano
22. Fausto Y Su Ford - Grupo Antillano
23. Lolita, A - Grupo Antillano
24. Todo Es Mentira - Grupo Antillano
25. Esperame En El Porton - Los Reyes De La Plena

1. Lamento Borincano - Canariou Y Su Grupo
2. Quejas Del Ausente - Los Reyes De La Plena
3. Amor Sin Dolor - Canario Y Su Grupo
4. Cantares De La Sierra - Canario Y Su Grupo
5. Suenos De Vestales - Lira Boricua
6. Mis Amores - Lira Boricua
7. No Juegues Con Candela - Sexteto Flores
8. Mamita, Que Frio - Sexteto Flores
9. Siboney - Sexteto Flores
10. Polongui - Cuarteto Flores
11. Consejo A Las Mujeres - Canario
12. Llanto Del Campesino - Canario
13. Alegria Boricua - Grupo Aurora
14. Alma Boricua - Grupo Aurora
15. Mi Bien Baila El Son - Grupo Aurora
16. Pepina - Orquesta De Paco Duclerc
17. Alla Va - Canario Y Su Grupo
18. Tras La Tempestad - Canrio Y Su Grupo
19. El Home Relief - Canario Y Su Grupo
20. Estan Tirando Bombas - Canario Y Su Grupo
21. Que Vivio - Canario Y Su Grupo
22. El Portal - Quinteto La Plata
23. La Joven Que Yo Amaba - Quinteto La Plata
24. El Dia De Los Sorullos - Conjunto Tipico Ladi
25. Para El Ano Nuevo - Conjunto Tipico Ladi

Great compiation!!!.......2003-01-09

Received this 2-CD set as a Christmas present and I have been enjoying it since. It is a great compilation with a lot of history. There are groups that I have never heard off and interpretations of rythms that are very different from the way they are played now. But it is a very good representation of the music played in New York for the Puerto Ricans inmigrants there. I know very well they enjoyed that music at the time, the very same way we present time inmigrants enjoy the modern salsa and the "jibaro" music. VIVA PUERTO RICO!!!!

Old, rare recordings from off the beaten track.......2003-01-04

If you want to delve deep down into the primorial history of Puerto Rican acoustic music, this collection is pretty hard to beat. These recordings include some of the oldest examples of the various danzas, plenas and guarachas that immigrant performers brought with them during the interwar exodus to New York City... On the whole, this 2-CD set may be a bit too stark for all but the most dedicated fans, but it's certainly an amazing collection, drawing on dozens of rare 78s by bands such as Canario Y Su Grupo, Los Reyes De La Plena and the Sexteto Flores... Also of note are the rigorously PC liner notes, which see the development of Puerto Rican pop strictly in terms of cultural colonization and commercial cooptation... Politics aside, this is a mighty fine collection, ideal for any serious student of PR musical culture.

Homesick!.......2002-03-10

I was captivated by this CD set. Cannot put it down. As part of the process of teaching my kids about Puerto Rican culture and history, this music is an invaluable treat. AY Bendito! what memories. Highly recommended for its historical content.

Average customer rating:

A treasure of French singing from Norman

A French Collection

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Norman, Jessye | Divas | Opera & Vocal | Styles | Music
Similar Items:

The Jessye Norman Collection: Schubert & Mahler Lieder
The Jessye Norman Collection: Brahms and Schumann Lieder
Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)

ASIN: B0007XZUEG
Release Date: 2005-05-10

Tracks:

I. Villanelle - Jessye Norman
II. Le Spectre De La Rose - Jessye Norman
III. Sur Les Lagunes (Lamento) - Jessye Norman
IV. Absence - Jessye Norman
V. Au Cimetiere (Clair De Lune) - Jessye Norman
VI. L'Ile Inconnue - Jessye Norman
I. Asie - Jessye Norman
II. La Flute Enchantee - Jessye Norman
III. L'Indifferent - Jessye Norman

Tracks:

La Vie Anterieure - Dalton Baldwin
Phidyle - Dalton Baldwin
Chanson Triste - Dalton Baldwin
L'Invitation Au Voyage - Dalton Baldwin
L'Enigme Eternelle - Dalton Baldwin
Kaddisch - Dalton Baldwin
Voyage A Paris - Dalton Baldwin
Montparnasse - Dalton Baldwin
La Grenouillere - Dalton Baldwin
Les Chemins De L'Amour - Dalton Baldwin
La Statue De Bronze - Dalton Baldwin
Dapheneo - Dalton Baldwin
Le Chapelier - Dalton Baldwin
Je Te Veux - Dalton Baldwin

Customer Reviews:

A treasure of French singing from Norman.......2006-09-24

Jessye Norman isn't as well known for her French repertoire as for most of the other things she sang (and she wasn't helped by a stodgy, overly plush Carmen). Even so, two of these recordings in this budget reissue stand out: the Nuits d'Ete and Ravel Scheherazade, otherwise unabailable. Norman sings both in a rich operatic style, and the resuslts are gorgeous. Colin Davis conducts in a relaxed but effective style, but the real show is Norman's amazing vocal control and luscious tone. Perhaps among operatic versions Leontyne Price is even more thrilling, but Norman, a longtime resident of Paris, has much better French.

The second CD consists of a recital with piano of French chansons, many of them off the beaten track. casual listeners may not respond with instant enthusiasm, and it must be said that Norman's voice is rather huge for this delicate, ephemeral genre of songs. In her way, however, this is a sincere, well executed program--not one of my favorites but worthwhile.

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Average customer rating:

Je Ne T'Aime Pas
Superb musicianship!
An excellent recording by a fast-rising cabaret star

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Manufacturer: Marquis Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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Slow Fox
Naked Beauty
Habaneras, Milongas, Tangos
Francis Poulenc (1899-1963) Melodies (Songs)
Teresa Stratas - The Unknown Kurt Weill

ASIN: B0000067TU
Release Date: 2007-01-08

Tracks:

Chanson
La Diva De L'Empire
Elegie
Le Chapelier
Hotel
Violon
La Reine De Coeur
Lune D'Avril
Les Filles De Bordeaux
Le Roi D'Aquitaine
Je Ne T'Aime Pas
Youkali
Berlin Im Licht
Zu Potsdam Unter Den Eichen
Mon Manege A Moi
Non, Je Ne Regrette Rien
One Life To Live

Customer Reviews:

Je Ne T'Aime Pas .......2006-03-02

if i had to pick a favorite song on this cd, that would be the one...i heard this one more than the others. " one life to live," is superb...she did all these songs in one take ! and the passion and romance is undeniable...i had never listened to cabaret before this. i became a fan.

Superb musicianship!.......2002-01-19

This CD is thoroughly enjoyable. O'Callaghan's passionate interpretations of these cabaret/parlour style songs are never less than convincing in their colourful delivery. My particular favorite's are two of the Weill numbers: "Je ne t'aime pas", which is so full of heart-wrenching angst, and "Youkali", because it is so rarely heard. The lesser known works of Poulenc and Satie are also each sparkling little treasures. The musicians all seem to "gel" together beautifully, and one can imagine that they had a really great time recording this disc together. Fantastic artistry!

An excellent recording by a fast-rising cabaret star.......1998-11-04

This first CD by the talented soprano Patricia O'Callaghan is truly excellent. Ms. O'Callaghan has the rare ability to mesmerize the listener through her intuitive and expressive vocal instrument. Her voice and vocal style are unique..she imitates no one. This is the sign of a true artist. The selections, ranging from Poulenc to Weill to a rarely heard gem by George Gershwin, are performed with meticulous attention to detail. Nuances, articulation of the text combined with superb vocal technique are very evident. If you haven't yet purchased Youkali, put it on your definite "to do" list tomorrow!!!

Régine Crespin - Songs of Ravel & Satie, Beethoven "Ah! Perfido", Concert Arias

Average customer rating:

Régine Crespin - Songs of Ravel & Satie, Beethoven "Ah! Perfido", Concert Arias
Maurice Ravel , Erik Satie , Ludwig van Beethoven , New York Philharmonic , Thomas Schippers , Régine Crespin , and Philippe Entremont
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Crespin, Regine | Divas | Opera & Vocal | Styles | Music

The Very Best of Régine Crespin
Les Introuvables Du Chant Wagnérien

ASIN: B00000C28S
Release Date: 1998-09-22

Tracks:

Histories Naturelles: Le Paon
Histories Naturelles: Le Grillon
Histories Naturelles: Le Cygne
Histories Naturelles: Le Martin-Pecheur
Histories Naturelles: La Pintade
Melodies - Songs: Le Chapelier
Melodies - Songs: Tendrement
Melodies - Songs: Dapheneo
Melodies - Songs: L'Omnibus automobile
Melodies - Songs: La Statue de bronze
Melodies - Songs: Je te veux
Melodies - Songs: Chanson du chat
Melodies - Songs: La Diva de 'L'Empire'
'Ah! Perfido', Op. 65

Amazon.com

The now-retired Régine Crespin is easily the greatest soprano voice to come out of France since World War II, notable not just for its body and luster but for such an effortless sense of line that you're never aware of the individual notes, only the overall musical idea they're meant to create. This was recorded a bit late in her career and some wobble is apparent. But her characterization of the words--so important in Ravel's precise animal portraits in Histoires Naturelles--is peerless. Too bad that the Satie songs--in terms of quality--veer between serious endeavors and cabaret toss-offs. The disc is filled out by Crespin's performance of Beethoven's concert aria Ah! Perfido, which illustrates why she was a formidable Tosca in her day. --David Patrick Stearns

Hommage à Jane Bathori: The Inspiring Muse

Average customer rating:

The joy of hearing, and listening to, the voice that is Dawn Upshaw.
One of the best live recordings ever
Upshaw shines!

Hommage à Jane Bathori: The Inspiring Muse
Jerome Ducros
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00002DEIP
Release Date: 2000-02-15

Tracks:

Darius Milhaud- Chant de Nourrice
Albert Roussel- Adieux
Arthur Honegger- Six Poemes d'Alcools d'Apollinaire
Six Poemes d'Alcools d'Apollinaire
Six Poemes d'Alcools d'Apollinaire
Six Poemes d'Alcools d'Apollinaire
Six Poemes d'Alcools d'Apollinaire
Six Poemes d'Alcools d'Apollinaire
Darius Milhaud- L'Abandon
Erik Satie- Trois Melodies de 1916
Trois Melodies de 1916
Trois Melodies de 1916
Charles Koechlin- Amphise et Melitta
Maurice Ravel- Histoires Naturelles
Histoires Naturelles
Histoires Naturelles
Histoires Naturelles
Histoires Naturelles
Claude Debussy- Le Promenoir des Deux Amants
Le Promenoir des Deux Amants
Le Promenoir des Deux Amants
Encore- Spoken introduction by Dawn Upshaw
Henri Dutilleux- San Francisco Night

Amazon.com

Dawn Upshaw's recital of 20th century French songs is a bouquet to their great exponent, and often inspirer, Jane Bathori. Recorded live before an appreciative Paris audience, Upshaw's in fine voice, her lyric soprano caressing each song, leaving no doubt that she loves this repertory. She adopts slow tempos and characterizes broadly, assuming a girlish voice for some songs, a device that some listeners will adore (and others find repellent). The songs themselves are wonders, from favorites like the Ravel and Satie selections to rarely heard gems. The encore is a highlight: Dutilleux's 1993 setting of "San Francisco Night," receiving its premiere recording. Upshaw's legion of fans will need no urging to grab this disc, and it's a good choice for those seeking a representative group of outstanding modern French songs. Devotees of French mélodie, though, will prefer Marston's reissues of idiomatic historic recordings by an older generation of singers, such as Jane Bathori herself and Clare Croiza. --Dan Davis

Customer Reviews:

The joy of hearing, and listening to, the voice that is Dawn Upshaw........2006-10-16

The joy of listening to Dawn Upshaw perform is that in any venue, in recital or stage performance, in any language, one can understand every word of text, and feel every expression. And, in any recording, especially this recording, one can "see" her expression, poise, and performance without having been in the auditorium. From Mozart to Vernon Duke, from Milhaud to Goliov, she exudes the pure joy of singing, with a clarity of tone and text, that communicates to the back row of an auditorium, or through stereo speakers, the jubilance that is Dawn Upshaw.

One of the best live recordings ever.......2001-12-26

I usually don't like live recordings. I don't need the audience to laugh appreciatively or burst into thunderous applause to tell me I should like the piece. But this album is different. It doesn't have that strange distant sense of watching a performance from outside the hall. In fact, just the opposite.
The warmth and character of Upshaw's performances pulls you in to the hall. Her respect for Mme. Jane Bathori makes this a true "hommage." Her French is impeccable, and it is clear she knows of what she sings. The performances of Ravel's "Histoires Naturelles" and Debussy's "Trois Chansons" are excellent, but I have to say her perfomance of Roussel's "Adieux" increased my respect for the composer immeasurably. However, of course Upshaw doesn't do it alone, being accompanied by one of the best piano accompanists I have ever heard. I recommend this album without reservation to any fan of Upshaw or 20th-century French song.

Upshaw shines!.......2001-08-27

This is truly an incredible collection of french chanson and Dawn Upshaw is really in her element here. It's a live recording, but the applause really doesn't interfere with the mood presented. The collection of peices varies by artist, but generally it's a light array of lyrical music. Upshaw's interpretation is fantastic and her pronunciation of the French language itself is incredible, much better than most non-French opera singers I've heard. A wonderful album!

Music Review:

Music Review

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