| 1. Je Voudrais Que Tu Me Consoles |
| 2. Age Que J'Ai |
| 3. Sort du Monde |
| 4. Quoi Ça Sert |
| 5. Couvre Moi - Julie Zenatti |
| 6. On Efface |
| 7. Dans Ces Villes |
| 8. Rendez Moi le Silence |
| 9. Amour S'En Fout |
| 10. Prends Soin de Moi |
| 11. Lis Dans Mes Pensées |
| 12. Des Nouvelles |
| 13. Comme Vous |
| 14. Mon Amour |
Editorial Reviews
Product Description
2004 Studio Album from the Star of the 1998 Paris Cast of "Notre Dame De Paris" and Recorded with Rick Allison, Axel Bauer, Jean-jacques Goldman, Patrick Fiori and Many Others.
While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.
I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.
This CD is not my favorite one, but I still gave it solid 4 stars. The music is a bit monotonous. I would have liked to see more of a variety, like on her first album. Most tracks here are too mellow. They do not allow her to show the full range of her voice. I would have liked to see more fast, aggressive pieces.
* * * * * * *
Julie Zenatti est une ange. C'est une disque extraordinaire a mon avis! Bonne sante!
I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.
Daniel Lavoie is perfect as always. Cathialine Andria has a beautiful voice. Jeff is just wonderful as the Prince. Richard Cocciante's melodies are wonderful. I can't even say with certaintly which song is best. They are all so very wonderful. This is just an exquisite piece of music. Entirely perfect.
Roberto alagna, a native French speaker despite his name, is the only prominent Werther who can claim that distinciton. I've always felt he was much better suited to French opera than the heavier Verdi-Puccini roles that he now sings, and which (shadoes of Carreras) have led to a coarsening of his voice, along with a pronounced wobble and intonation problems. but he is a star, no doubt, and here he brings charisma and style to Wether. He takes care to find many musical shadings throughout, and since the date for this recording is 1998-99, he is nearly in best voice.
Everyone has praised Pappano (are they following the lead of The Gramophone reviewer, who thought he was the best thing here?), but Colin Davis, Georges Pretre, and Kent Nagano had done as well. Pappano;s distinciton is that he is a bit slower, more dleiberate, and self-consciously refined. I'm not sure that's always a great advantage in Massanet, whose music is given to sighs and longueurs--it can use help form an energetic conductor. EMI's recording form London is a bit distant but otherwise quite good.
IN all, this is a gripping peformance that deserves all the praise it has gotten, but it doesn't erase memories of other fine Werthers, an opera that has been amazingly successful on records. The Davis features a remarkable Charlotte in Frederica von stade and a passionate, verismo Carreras in top form (Philips), the Nagano has gorgeous if not quite idiomatic singing from von Otter and Hadley in a more low-key, melliflous style (Erato), and of course there's the classic Pretre version with de los Angeles and Gedda. This only skims the surface, for there is an oustanding live 1977 performance with Domingo and Fassbaender under Lopez-Corbos from Munich (Orfeo). Indeed, when the Amazon reviewer claims that the Plasson set with Troyanos and Kraus on EMI "dominated" the stereo era, he is far from accurate.
Roberto Alagna has been criticized for his flawed technique- he sings with self-conscious grandeur and often imitates the lyric tones of predecessors Giuseppe Di Stefano and Franco Corelli. He has a nearly "pop" style voice - all razzzle-dazzle, great volume, beautiful tone, but often fails in the more difficult music. He is however, very gifted and intelligent and attempts to sing with as much passion and drama as possible. I for one love what I hear from him, especially in this recording, where he has never sang better. Angela Gheorghiou sings with her usual dramatic diva flair - thrilling high notes, tessitura, chest voice, musicality and all the good things she has used for other great hits like Juliette and Manon. But in this performance, while it is still good, she is not really in her element. This is a mezzo-soprano role. Charlotte, Werther's unattainable love, must sing with mezzo soprano voice in order to seduce Werther a la Bizet's Carmen. While it is definately a role for a high mezzo, it is not for the purely soprano voice of Angela Gheorghiu. You have to be a fan of these two in order to appreciate Gheorghiu's treatment of a mezzzo soprano role. It is basically the same thing as her Carmen, another mezzo soprano role. If you want to hear outstanding mezzo sopranos in Werther check out the dramatic mezzo style of Brigitte Fassbaender who is by far the best intepretor or check out Federica Von Stade who sings a cooler and less intense Charlotte opposite the supercharged Jose Carreras. Pappano does a great job with the music - bloom, brilliance, darkness and this is by far the best modern recording of the opera.
Y digo sorprendente porque quizas ROBERTO ALAGNA sea el mejor interprete de Werther desde el mitico Kraus. Sus interpretaciones son muy diferentes entre si, ya que Alagna muestra un timbre mas baritonal que el liviano de Kraus y un canto mas afrancesado: Un canto elegante y entregado capaz de llegar a los agudos sin grandes problemas, que hacen de Alagna seguramente el mejor Werther de su generacion (y por tanto el mejor despues de Kraus).
Como Charlotte encontramos a la soprano ANGELA GHEORGHIU, en un papel que aunque habitualmente es cantado por mezzos, le queda francamente bien: la voz doliente y expresiva de Gheorghiu se presta perfectamente a la psicologia de Charlotte, y la quimica con Alagna en los duos de amor (sobra decir que es su esposo en la vida real) es total.
Completando el reparto nos encontramos con los lujos de PATRICIA PETIBON (una Sophie cuyo timbre recuerda mucho al de Natalie Dessay) y el Albert de un THOMAS HAMPSON que es todo sutilidad. El resto del reparto rinde tambien a buen nivel.
ANTONIO PAPPANO dirige a la LONDON SIMPHONY (que suena igual de bien que siempre) y el coro infantil canta con mucha correccion. Si a esto le sumamos un sonido magnifico (podemos oir en algunos momentos incluso los susurros de Pappano a la orquesta), esto nos lleva a pensar que este 'Werther' sea la mas adecuada segunda opcion, despues de tener la obviamente obligada de Alfredo Kraus. Muy buen trabajo.
Another introductory note. She was 44 on the earliest recordings and nearly 50 on later operatic recordings; there were some late recording sessions, including one mentioned below, when she was in her mid-60s.
A sampling of her recordings on this CD. . . .
From Mozart's "Le Nozze di Figaro," there is "Voi che sapete." Melba shows a light voice. The technology (acoustic), of course, obscures a lot of her vocal qualities. The transition from her lower to middle and upper registers is a bit rough. There is, though, a smooth line in her singing. She displays a rich voice.
The cut that best illustrates the comments quoted from the "liner notes" might be the "Mad Scene" from Thomas' "Hamlet." Melba shows a pretty agile voice in this work. Early on, there is a middling--but not very good--trill. She hits some high notes well early on. The first segment of the scene is smoothly and even elegantly sung. The cabaletta suggests that coloratura technique has changed from the turn of the 19th to the 20th century compared with the past 40 years or so. She hits her high notes fairly well. But there are some passages that are almost beyond describing. At one point, she sounds as if she were barking rather than singing. There were other examples, as the liner notes suggest, of "vocal ungraciousness." The cabaletta is not very compelling coloratura work as I listen to things.
On the other hand, her version of Puccini's "Si, mi chiamano Mimi" (from "La Boheme") is smoothly and well sung. Her "musicality" is good. All in all, a very nice version.
Finally, an interesting novelty. She sings "Swing low, sweet chariot" in her mid-60s. Her voice is darker and deeper than other cuts on this CD. But she exhibits a very musical version of this work. It is affecting, in fact. She does not overpower the song with operatic technique. This is a nice change of pace on the CD and is a solid version of this tune.
As a whole, this is up and down. There are the moments of great musicality--and some pretty ungracious singing, too. This appears to be a useful introduction to Melba's body of work.
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.
Most other French Baroque lamentations are composed on a small scale, but these by Gilles are quite large, more in the tradition of grands motets. They employ a full complement of soloists plus chorus, with obbligato instruments. The music is sublime; usually quite understated, but occasionally bursting forth with energy and drama.
Gilles proves himself to be a master of wonderfully poignant melodies. The mood us mainly quite sombre, but is broken up somewhat by the contrasting textures (if not mood) of the works by Carpentras and Bouzignac, the latter of which is a truly unique composer and deservse more renown.
The performances are faultless, especially the solo singers who capture the delicate French ornaments exquisately.
This is a very rewarding performance, and a delight in all respects. Highly recommended
2004 Studio Album from the Star of the 1998 Paris Cast of "Notre Dame De Paris" and Recorded with Rick Allison, Axel Bauer, Jean-jacques Goldman, Patrick Fiori and Many Others.
Comme Vous...,Julie Zenatti,Sony Int'l,France,French Pop,Int'l & World Music,Pop,Pop/Rock,World Music
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The Art of Joan Sutherland
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ASIN: B000654OUQ Release Date: 2005-03-15 |
Customer Reviews:
Valuable compendium.......2007-01-24
Rareties available on CD at last!.......2006-03-29
While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.
I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.
Heavenly.......2006-01-31
WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10
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The Very Best of Mady Mesplé
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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
High note feast :).......2006-10-02
Simply beautiful high notes.......2006-08-14
Mady Mesplé's wonderful album.......2005-08-30
A glorious bit of memorabilia from a sadly forgotten soprano.......2005-05-10
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Comme Vous...
Julie Zenatti Manufacturer: Sbme Import ProductGroup: Music Binding: Audio CD France
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ASIN: B00063GQ6S Release Date: 2005-10-21 |
Tracks:
- Je Voudrais Que Tu Me Consoles
- Age Que J'Ai
- Sort du Monde
- Quoi Sert
- Couvre Moi - Julie Zenatti
- On Efface
- Dans Ces Villes
- Rendez Moi le Silence
- Amour S'En Fout
- Prends Soin de Moi
- Lis Dans Mes Pens
- Des Nouvelles
- Comme Vous
- Mon Amour
Album Details
2004 Studio Album from the Star of the 1998 Paris Cast of "Notre Dame De Paris" and Recorded with Rick Allison, Axel Bauer, Jean-jacques Goldman, Patrick Fiori and Many Others.Customer Reviews:
Not that good.......2007-07-04
I'd like to have Julie as a personal friend!.......2006-02-02
This CD is not my favorite one, but I still gave it solid 4 stars. The music is a bit monotonous. I would have liked to see more of a variety, like on her first album. Most tracks here are too mellow. They do not allow her to show the full range of her voice. I would have liked to see more fast, aggressive pieces.
When I was in Paris...........2005-06-25
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Julie Zenatti est une ange. C'est une disque extraordinaire a mon avis! Bonne sante!
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Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Francis Poulenc , Dalton Baldwin , Elly Ameling , Gérard Souzay , Nicolai Gedda , Michel Sénéchal , and William Parker Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Poulenc
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ASIN: B000002S31 Release Date: 1992-01-23 |
Tracks:
- LE BESTIAIRE OU CORTEGE D'ORPHEE: I - Le Dromadaire
- LE BESTIAIRE OU CORTEGE D'ORPHEE: II - La Chevre Du Tibet
- LE BESTIAIRE OU CORTEGE D'ORPHEE: III - La Sauterelle
- LE BESTIAIRE OU CORTEGE D'ORPHEE: IV - Le Dauphin
- LE BESTIAIRE OU CORTEGE D'ORPHEE: V - L'ecrevisse
- LE BESTIAIRE OU CORTEGE D'ORPHEE: VI - La Carpe
- COCARDES: I - Miel De Narbonne
- COCARDES: II - Bonne D'enfant
- COCARDES: III - Enfant De Troupe
- 5 POEMES DE RONSARD: I - Attributs
- 5 POEMES DE RONSARD: II - Le Tombeau
- 5 POEMES DE RONSARD: III - Ballet
- 5 POEMES DE RONSARD: IV - Je N'ai Plus Les Os
- 5 POEMES DE RONSARD: V - A Son Page
- CHANSONS GAILLARDES: I - La Maitresse Volage
- CHANSONS GAILLARDES: II - Chanson A Boire
- CHANSONS GAILLARDES: III - Madrigal
- CHANSONS GAILLARDES: IV - Invocation Aux Parques
- CHANSONS GAILLARDES: V - Couplets Bachiques
- CHANSONS GAILLARDES: VI - L'offrande
- CHANSONS GAILLARDES: VII - La Belle Jeunesse
- CHANSONS GAILLARDES: VIII - Serenade
- AIRS CHANTES: I - Air Romantique
- AIRS CHANTES: II - Air Champetre
- AIRS CHANTES: III - Air Grave
- AIRS CHANTES: IV - Air Vif
- Epitaphe
- 3 POEMES DE LOUISE LALANNE: I - Le Present
- 3 POEMES DE LOUISE LALANNE: II - Chanson
- 3 POEMES DE LOUISE LALANNE: III - Hier
- 4 POEMES DE GUILLAUME APOLLINAIRE: I - L'anguille
- 4 POEMES DE GUILLAUME APOLLINAIRE: II - Carte Postale
- 4 POEMES DE GUILLAUME APOLLINAIRE: III - Avant Le Cinema
- 4 POEMES DE GUILLAUME APOLLINAIRE: IV - 1904
- 5 POEMES DE MAX JACOB: I - Chanson Bretonne
- 5 POEMES DE MAX JACOB: II - Cimetiere
- 5 POEMES DE MAX JACOB: III - La Petite Servante
- 5 POEMES DE MAX JACOB: IV - Berceuse
- 5 POEMES DE MAX JACOB: V - Souric Et Mouric
- 8 CHANSONS POLONAISES: I - La Couronne
- 8 CHANSONS POLONAISES: II - Le Depart
- 8 CHANSONS POLONAISES: III - Les Gars Polonais
- 8 CHANSONS POLONAISES: IV - Le Dernier Mazour
- 8 CHANSONS POLONAISES: V - L'adieu
- 8 CHANSONS POLONAISES: VI - Le Drapeau Blanc
- 8 CHANSONS POLONAISES: VII - La Vistule
- 8 CHANSONS POLONAISES: VIII - Le Lac
Tracks:
- 5 POEMES DE PAUL ELUARD: I - Peut - Il Se Reposer?
- 5 POEMES DE PAUL ELUARD: II - Il La Prend Dans Ses Bras
- 5 POEMES DE PAUL ELUARD: III - Plume D'eau Claire
- 5 POEMES DE PAUL ELUARD: IV - Rodeuse Au Front De Verre
- 5 POEMES DE PAUL ELUARD: V - Amoureuses
- A Sa Guitare
- TEL JOUR, TELLE NUIT: I - Bonne Journee
- TEL JOUR, TELLE NUIT: II - Une Ruine Coquille Vide
- TEL JOUR, TELLE NUIT: III - Le Front Comme Un Drapeau Perdu
- TEL JOUR, TELLE NUIT: IV - Une Roulotte Couverte En Tuiles
- TEL JOUR, TELLE NUIT: V - A Toutes Brides
- TEL JOUR, TELLE NUIT: VI - Une Herbe Pauvre
- TEL JOUR, TELLE NUIT: VII - Je N'ai Envie Que De T'aimer
- TEL JOUR, TELLE NUIT: VIII - Figure De Force Brulante Et Farouche
- TEL JOUR, TELLE NUIT: IX - Nous Avons Fait La Nuit
- 3 POEMES DE LOUISE DE VILMORIN: I - Le Garcon De Liege
- 3 POEMES DE LOUISE DE VILMORIN: II - Au-Dela
- 3 POEMES DE LOUISE DE VILMORIN: III - Aux Officiers De La Garde Blanche
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Dans Le Jardin D'anna
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Allons Plus Vite
- MIROIRS BRULANTS: I - Tu Vois Le Feu Du Soir
- MIROIRS BRULANTS: II - Je Nommerai Ton Front
- Le Portrait
- La Grenouillere
- Priez Pour Paix
- Ce Doux Petit Visage
- Bleuet
- FIANCAILLES POUR RIRE: I - La Dame D'andre
- FIANCAILLES POUR RIRE: II - Dans L'herbe
- FIANCAILLES POUR RIRE: III - Il Vole
- FIANCAILLES POUR RIRE: IV - Mon Cadavre Est Doux Comme Un Gant
- FIANCAILLES POUR RIRE: V - Violon
- FIANCAILLES POUR RIRE: VI - Fleurs
Tracks:
- BANALITES: I - Chanson D'orkenise
- BANALITES: II - Hotel
- BANALITES: III - Fagnes De Wallonie
- BANALITES: IV - Voyage A Paris
- BANALITES: V - Sanglots
- CHANSONS VILLAGEOISES: I - Chanson Du Clair Tamis
- CHANSONS VILLAGEOISES: II - Les Gars Qui Vont A La Fete
- CHANSONS VILLAGEOISES: III - C'est Le Joli Printemps
- CHANSONS VILLAGEOISES: IV - Le Mendiant
- CHANSONS VILLAGEOISES: V - Chanson De La Fille Frivole
- CHANSONS VILLAGEOISES: VI - Le Retour Du Sergent
- METAMORPHOSES: I - Reine Des Mouettes
- METAMORPHOSES: II - C'est Ainsi Que Tu Es
- METAMORPHOSES: III - Paganini
- 2 POEMES DE LOUIS ARAGON: I - C
- 2 POEMES DE LOUIS ARAGON: II - Fetes Galantes
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Montparnasse
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Hyde Park
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Le Pont
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Un Poeme
- Paul Et Virginie
- Mais Mourir
- Hymne
- 3 CHANSONS DE FEDERICO GARCIA LORCA: I - L'enfant Muet
- 3 CHANSONS DE FEDERICO GARCIA LORCA: II - Adelina A La Promenade
- 3 CHANSONS DE FEDERICO GARCIA LORCA: III - Chanson A L'oranger Sec
- Le Disparu
- Main Dominee Par Le Coeur
- CALLIGRAMMES: I - L'espionne
- CALLIGRAMMES: II - Mutation
- CALLIGRAMMES: III - Vers Le Sud
- CALLIGRAMMES: IV - Il Pleut
- CALLIGRAMMES: V - La Grace Exilee
- CALLIGRAMMES: VI - Aussi Bien Que Les Cigales
- CALLIGRAMMES: VII - Voyage
Tracks:
- Mazurka
- LA FRAICHEUR ET LE FEU: I - Rayon Des Yeux...
- LA FRAICHEUR ET LE FEU: II - Le Matin Les Branches Attisent...
- LA FRAICHEUR ET LE FEU: III - Tout Disparut...
- LA FRAICHEUR ET LE FEU: IV - Dans Les Tenebres Du Jardin...
- LA FRAICHEUR ET LE FEU: V - Unis La Fraicheur Et Le Feu...
- LA FRAICHEUR ET LE FEU: VI - Homme Au Sourire Tendre...
- LA FRAICHEUR ET LE FEU: VII - La Grande Riviere Qui VA...
- PARISIANA: Le Joueur De Bugle
- PARISIANA: Vous N'ecrivez Plus?
- Rosemonde
- LE TRAVAIL DU PEINTRE: I - Pablo Picasso
- LE TRAVAIL DU PEINTRE: II - Marc Chagall
- LE TRAVAIL DU PEINTRE: III - Georges Braque
- LE TRAVAIL DU PEINTRE: IV - Juan Gris
- LE TRAVAIL DU PEINTRE: V - Paul Klee
- LE TRAVAIL DU PEINTRE: VI - Joan Miro
- LE TRAVAIL DU PEINTRE: VII - Jacques Villon
- La Souris
- Nuage
- Dernier Poeme
- Une Chanson De Porcelaine
- LA COURTE PAILLE: I - Le Sommeil
- LA COURTE PAILLE: II - Quelle Aventure!
- LA COURTE PAILLE: III - La Reine De Coeur
- LA COURTE PAILLE: IV - Ba, Be, Bi, Bo, Bu
- LA COURTE PAILLE: V - Les Anges Musiciens
- LA COURTE PAILLE: VI - Le Carafon
- LA COURTE PAILLE: VII - Lune D'avril
- Toreador
- 4 CHANSONS POUR ENFANTS: I - La Tragique Histoire Du Petit Rene
- 4 CHANSONS POUR ENFANTS: II - Nous Voulons Une Petite Soeur
- 4 CHANSONS POUR ENFANTS: III - Le Petit Garcon Trop Bien Portant
- 4 CHANSONS POUR ENFANTS: IV - Monsieur Sans-Souci
- Fancy
- Colloque
Customer Reviews:
Essential for the chansom junkie. Buy It........2006-10-25
I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.
Almost completely wonderful.......2005-04-29
Indisputable Gallic flair.......2004-06-06
Idiomatic, fresh, cleanly recorded.......2001-05-12
the best songs ever ruined by uneven performing.......2001-05-05
Average customer rating:
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Le Petit Prince
Richard Cocciante , and Elizabeth Anais Manufacturer: Universal ProductGroup: Music Binding: Audio CD General
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ASIN: B000063ROK Release Date: 2002-06-20 |
Customer Reviews:
Perfection. Absolument exquis!.......2006-08-07
Daniel Lavoie is perfect as always. Cathialine Andria has a beautiful voice. Jeff is just wonderful as the Prince. Richard Cocciante's melodies are wonderful. I can't even say with certaintly which song is best. They are all so very wonderful. This is just an exquisite piece of music. Entirely perfect.
Amazing.......2006-05-09
Nothing short of superb.......2006-02-14
Formidable!.......2005-12-20
Enchanting.......2003-01-28
Average customer rating: 
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Massenet - Werther / Alagna · Gheorghiu · Hampson · Petibon · Courtis · Fouchécourt · Frémeau · LSO · Pappano
Jules Massenet , Antonio Pappano , Roberto Alagna , Angela Gheorghiu , London Symphony Orchestra , Tiffin Children's Choir , Thomas Hampson , Patricia Petibon , Jean-Philippe Courtis , Jean-Paul Fouchécourt , Jean-Marie Frémeau , James Savage-Hanford , Pierre Dupont , and Sophie Boulanger Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Massenet
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ASIN: B00001ZSVU Release Date: 1999-10-19 |
Tracks:
- Werther: Prelude (Orchestra)
- Werther: Act One: Assez! Assez! M'ecouterat-on cette fois? (Le Bailli, Les Enfants)
- Werther: Act One: Bravo pour les enfants! (Johann, Schmidt, Les Enfants, Le Bailli, Sophie)
- Werther: Act One: Alors, c'est bien ici la maison du Bailli?
- Werther: Act One: Je ne sais si je veille (Werther)
- Werther: Act One: Jesus vient de naitre!...Chers enfants! (Les Enfants, Werther)
- Werther: Act One: Ah! comme ils sont meilleurs que moi! (Werther, Les enfants, Le Bailli)
- Werther: Act One: Arrivez donc, Bruhlmann! (Le Bailli, Charlotte, Werther, Sophie)
- Werther: Act One: O spectacle ideal d'amour et d'innocence (Werther)
- Werther: Act One: Monsieur Werther!...Vivat Bacchus, semper vivat! (Le Bailli, Charlotte, Sophie)
- Werther: Act One: Sophie!...Albert! Toi de retour! (Albert, Sophie)
- Werther: Act One: Elle m'aime!...Quelle priere de reconnaissance et d'amour (Albert)
- Werther: Act One: Interlude (Orchestre)
- Werther: Act One: Interlude (continued) ...Il Faut nous separer
- Werther: Act One: Mais vous ne savez rien de moi
- Werther: Act One: Reve! Extase! Bonheur! (Charlotte, Werther)
- Werther: Act One: Charlotte! Charlotte! Albert est de retour! (Le Bailli, Charlotte, Werther)
- Werther: Act Two: Prelude (Orchestre) ....Vivat Bacchus! Semper vivat!
- Werther: Act Two: Allez, chantez l'office (Johann, Schmidt)
- Werther: Act Two: Trois mois! Voici trois mois que nous sommes unis! (Albert, Charlotte)
- Werther: Act Two: Un autre est son epoux!
- Werther: Act Two: J'aurais sur ma poitrine (Werther)
- Werther: Act Two: Si! Katchen reviendra, je vous dis! (Schmidt, Johann)
- Werther: Act Two: Au bonheur dont mon ame est pleine...Vous l'avez dit: mon ame est loyale et sincere (Albert, Werther)
- Werther: Act Two: Frere, voyez! Voyez le beau bouquet!...Heureux! Pourais-je l'etre encore? (Sophie, Werther, Albert)
- Werther: Act Two: Ai-je dit vrai? L'amour que j'ai pour elle Ah! qu'il est loin, ce jour plein d'intime douceur
- Werther: Act Two: N'est-il donc pas d'autre femme
- Werther: Act Two: Oui, ce qu'elle m'ordonne
- Werther: Act Two: Lorsque l'enfant revient d'un voyage avant l'heure
- Werther: Act Two: Mais venez donc! le cortege s'approche (Sophie, Werther, Charlotte, Albert)
Tracks:
- Werther: Act Three: Prelude (Orchestra)
- Werther: Act Three: Werther! Werther!...Qui m'aurait dit la place
- Werther: Act Three: Des cris joyeux d'enfants montent sous ma fenetre (Charlotte)
- Werther: Act Three: Bonjour, grand soeur! (Sophie, Charlotte)
- Werther: Act Three: Va! Laisse couler mes larmes (Charlotte)
- Werther: Act Three: Tiens, Charlotte, crois-moi, ne reste pas ici (Sophie, Charlotte)
- Werther: Act Three: Ah! mon courage m'abandonne! (Charlotte)
- Werther: Act Three: Qui, c'est moi! Je reviens! (Werner, Charlotte)
- Werther: Act Three: Ha! bien souvent...Toute mon ame est la!...Pourquoi me reveiller, o souffle du printemps? (Werner)
- Werther: Act Three: N'achevez pas! Helas!
- Werther: Act Three: Ah! Moi! Moi, dans ses bras! (Charlotte, Werther)
- Werther: Act Three: Werther, est de retour...on la vu revenir (Albert, Charlotte)
- Werther: Act Four: Entr'acte: La Nuit de Noel (Orchestra)
- Werther: Act Four: Werther! Werther! Rien! (Charlotte)
- Werther: Act Four: Qui parle? Charlotte, ah! c'est toi!
- Werther: Act Four: A cette heure supreme, je suis heureux (Charlotte, Werther)
- Werther: Act Four: Noel! Noel! Noel!...Dieu! Ces cris joyeux (Les Enfants, Charlotte, Werther, Sophie)
- Werther: Act Four: Ah! ses yeux se ferment!...Non...Charlotte!...je meurs (Charlotte, Werther)
Amazon.com
The modern discography of Massenet's Werther has long been dominated by the (currently out of print) Philips recording starring José Carreras and Frederica von Stade as well as the earlier EMI version with Alfredo Kraus and Tatiana Troyanos. But this EMI newcomer is within shouting distance of greatness, mainly due to conductor Antonio Pappano. Although any Werther succeeds or fails on the strength of its singers, the conductor is a crucial catalyst (on the Philips set, it's Colin Davis, while on EMI it's Michel Plasson) for maintaining the poetic intensity in a drama that can too easily seem like a naive case study in stalking. The Byronic title character essentially practices emotional blackmail on the married woman he loves by never hiding his suicidal tendencies, though one never thinks such mundane thoughts with tenor Roberto Alagna. Although his voice lacks the tenor bloom one might want, he's so at home with the role and the French language that he delivers a characterization full of imagination and immediacy, sometimes bordering on vocal genius. Soprano Angela Gheoghiu's vocal center is too high for this mezzo role, but she makes a vivid impression through the sheer force of her personality. Thomas Hampson gives vocal glamour but surprising dramatic restraint to the role of her husband, Albert. Although the sound quality is somewhat studio bound, Pappano and the London Symphony Orchestra play as if it's a live performance. --David Patrick StearnsCustomer Reviews:
A star among modern Werthers, but there are others.......2006-05-28
Roberto alagna, a native French speaker despite his name, is the only prominent Werther who can claim that distinciton. I've always felt he was much better suited to French opera than the heavier Verdi-Puccini roles that he now sings, and which (shadoes of Carreras) have led to a coarsening of his voice, along with a pronounced wobble and intonation problems. but he is a star, no doubt, and here he brings charisma and style to Wether. He takes care to find many musical shadings throughout, and since the date for this recording is 1998-99, he is nearly in best voice.
Everyone has praised Pappano (are they following the lead of The Gramophone reviewer, who thought he was the best thing here?), but Colin Davis, Georges Pretre, and Kent Nagano had done as well. Pappano;s distinciton is that he is a bit slower, more dleiberate, and self-consciously refined. I'm not sure that's always a great advantage in Massanet, whose music is given to sighs and longueurs--it can use help form an energetic conductor. EMI's recording form London is a bit distant but otherwise quite good.
IN all, this is a gripping peformance that deserves all the praise it has gotten, but it doesn't erase memories of other fine Werthers, an opera that has been amazingly successful on records. The Davis features a remarkable Charlotte in Frederica von stade and a passionate, verismo Carreras in top form (Philips), the Nagano has gorgeous if not quite idiomatic singing from von Otter and Hadley in a more low-key, melliflous style (Erato), and of course there's the classic Pretre version with de los Angeles and Gedda. This only skims the surface, for there is an oustanding live 1977 performance with Domingo and Fassbaender under Lopez-Corbos from Munich (Orfeo). Indeed, when the Amazon reviewer claims that the Plasson set with Troyanos and Kraus on EMI "dominated" the stereo era, he is far from accurate.
Another Smash Hit From The French Opera Specialists .......2006-02-25
Roberto Alagna has been criticized for his flawed technique- he sings with self-conscious grandeur and often imitates the lyric tones of predecessors Giuseppe Di Stefano and Franco Corelli. He has a nearly "pop" style voice - all razzzle-dazzle, great volume, beautiful tone, but often fails in the more difficult music. He is however, very gifted and intelligent and attempts to sing with as much passion and drama as possible. I for one love what I hear from him, especially in this recording, where he has never sang better. Angela Gheorghiou sings with her usual dramatic diva flair - thrilling high notes, tessitura, chest voice, musicality and all the good things she has used for other great hits like Juliette and Manon. But in this performance, while it is still good, she is not really in her element. This is a mezzo-soprano role. Charlotte, Werther's unattainable love, must sing with mezzo soprano voice in order to seduce Werther a la Bizet's Carmen. While it is definately a role for a high mezzo, it is not for the purely soprano voice of Angela Gheorghiu. You have to be a fan of these two in order to appreciate Gheorghiu's treatment of a mezzzo soprano role. It is basically the same thing as her Carmen, another mezzo soprano role. If you want to hear outstanding mezzo sopranos in Werther check out the dramatic mezzo style of Brigitte Fassbaender who is by far the best intepretor or check out Federica Von Stade who sings a cooler and less intense Charlotte opposite the supercharged Jose Carreras. Pappano does a great job with the music - bloom, brilliance, darkness and this is by far the best modern recording of the opera.
¿El mejor Werther despues de Kraus?.......2004-10-23
Y digo sorprendente porque quizas ROBERTO ALAGNA sea el mejor interprete de Werther desde el mitico Kraus. Sus interpretaciones son muy diferentes entre si, ya que Alagna muestra un timbre mas baritonal que el liviano de Kraus y un canto mas afrancesado: Un canto elegante y entregado capaz de llegar a los agudos sin grandes problemas, que hacen de Alagna seguramente el mejor Werther de su generacion (y por tanto el mejor despues de Kraus).
Como Charlotte encontramos a la soprano ANGELA GHEORGHIU, en un papel que aunque habitualmente es cantado por mezzos, le queda francamente bien: la voz doliente y expresiva de Gheorghiu se presta perfectamente a la psicologia de Charlotte, y la quimica con Alagna en los duos de amor (sobra decir que es su esposo en la vida real) es total.
Completando el reparto nos encontramos con los lujos de PATRICIA PETIBON (una Sophie cuyo timbre recuerda mucho al de Natalie Dessay) y el Albert de un THOMAS HAMPSON que es todo sutilidad. El resto del reparto rinde tambien a buen nivel.
ANTONIO PAPPANO dirige a la LONDON SIMPHONY (que suena igual de bien que siempre) y el coro infantil canta con mucha correccion. Si a esto le sumamos un sonido magnifico (podemos oir en algunos momentos incluso los susurros de Pappano a la orquesta), esto nos lleva a pensar que este 'Werther' sea la mas adecuada segunda opcion, despues de tener la obviamente obligada de Alfredo Kraus. Muy buen trabajo.
Best Werther recording since the 1930s.......2000-03-17
thoughts on "Werther".......2000-01-07
This CD is worth your money, provided you already like the opera. Personally, Werther's selfishness drives me up a wall.
There's only one major problem: why is Gheorghiu singing a mezzo role? The middle register of her voice is *not* her best of show.
Average customer rating:
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Nellie Melba
Manufacturer: Nimbus Records ProductGroup: Music Binding: Audio CD Chausson, Ernest
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ASIN: B0000037L9 Release Date: 1998-01-27 |
Tracks:
- Le Nozze Di Figaro: Voi Che Sapete
- L'allegro, Il Penseroso Ed Il Moderato: Sweet Bird That Shuns't The Noise Of Folly - Nellie Melba/John Lemmone
- Louise: Depuis Le Jour - Nellie Rogers
- Don Cesar De Bazan: A Seville, Belles Senoras
- Faust: Alerte! Ou Vous Etes Perdus - Nellie Melba/John McCormack/Giuseppe Mario Sammarco
- Hamlet: A Vos Jeux, Mes Amis...Pale Et Blonde (Mad Scene)
- Distance Test
- Armino: Pur Dicesti, O Bocca, Bocca Bella
- Lo, Here The Gentle Lark - Nellie Melba/John Lemmone
- Piangea Cantando...O Salce! Salce! (Willow Song)
- Ave Maria
- La Boheme: Mi Chiamano Mimi
- Tosca: Vissi D'arte
- Les Anges Pleurent
- Chant Venetien
- Romance (From 'Deux Romances')
- Mandoline
- Le Temps Des Lilas (From Poeme De L' Amour Et De La Mer, Op.19)
- D'une Prison
- Elaine: L' Amour Est Pur Comme La Flamme - Nellie Melba/Herman Bemberg
- Sur Le Lac - Nellie Melba/Herman Bemberg
- Swing Low, Sweet Chariot - Nellie Melba/Harold Craxton
Customer Reviews:
Introduction to Dame Nellie Melba.......2007-03-09
Another introductory note. She was 44 on the earliest recordings and nearly 50 on later operatic recordings; there were some late recording sessions, including one mentioned below, when she was in her mid-60s.
A sampling of her recordings on this CD. . . .
From Mozart's "Le Nozze di Figaro," there is "Voi che sapete." Melba shows a light voice. The technology (acoustic), of course, obscures a lot of her vocal qualities. The transition from her lower to middle and upper registers is a bit rough. There is, though, a smooth line in her singing. She displays a rich voice.
The cut that best illustrates the comments quoted from the "liner notes" might be the "Mad Scene" from Thomas' "Hamlet." Melba shows a pretty agile voice in this work. Early on, there is a middling--but not very good--trill. She hits some high notes well early on. The first segment of the scene is smoothly and even elegantly sung. The cabaletta suggests that coloratura technique has changed from the turn of the 19th to the 20th century compared with the past 40 years or so. She hits her high notes fairly well. But there are some passages that are almost beyond describing. At one point, she sounds as if she were barking rather than singing. There were other examples, as the liner notes suggest, of "vocal ungraciousness." The cabaletta is not very compelling coloratura work as I listen to things.
On the other hand, her version of Puccini's "Si, mi chiamano Mimi" (from "La Boheme") is smoothly and well sung. Her "musicality" is good. All in all, a very nice version.
Finally, an interesting novelty. She sings "Swing low, sweet chariot" in her mid-60s. Her voice is darker and deeper than other cuts on this CD. But she exhibits a very musical version of this work. It is affecting, in fact. She does not overpower the song with operatic technique. This is a nice change of pace on the CD and is a solid version of this tune.
As a whole, this is up and down. There are the moments of great musicality--and some pretty ungracious singing, too. This appears to be a useful introduction to Melba's body of work.
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Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Offenbach
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ASIN: B000005E4D Release Date: 1996-10-29 |
Tracks:
- Les Contes D' Hoffmann: Prelude - Kent Nagano
- Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
- Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
- Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
- Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
- Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
- Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
- Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
- Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
- Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
- Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
- Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
- Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
- Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
- Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
- Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
- Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
- Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
- Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
- Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
- Les Contes D' Hoffmann: Serviteur - Kent Nagano
- Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
- Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
- Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
- Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
- Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
- Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
- Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
- Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano
Tracks:
- Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
- Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
- Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
- Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
- Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
- Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
- Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
- Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
- Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
- Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach
Tracks:
- Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
- Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
- Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
- Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
- Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
- Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
- Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
- Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
- Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
- Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
- Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
- Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
- Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
- Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
- Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
- Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
- Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach
Amazon.com
Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick StearnsCustomer Reviews:
Not a flawless version, but one to be REALLY loved.......2006-05-09
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.
The best of a mediocre-to-bad lot.......2003-10-30
Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.
I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.
That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.
Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)
This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.
The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)
Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.
Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.
Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).
An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.
Hoffman contines to elude the recording world.......2001-10-03
I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.
On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.
No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.
Excellent but not definitive.......2001-04-20
First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....
Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of notes almost identical to one sung by Dessay as Olympia in Act II, emphasizing the connection of the heroines. ...Lascarro does a very good job in the small role of Stella (....Dubosc is excellent as the Muse and Nicklausse, giving a truly memorable performance of nearly the entire role. Unfortunately, Nicklausse's Antonia-act aria, arguably the artistic and emotional heart of the entire opera ...,seems somehow disappointing on this recording. Dubosc's voice does not cut through the orchestra as it should when she sings in her lower register, and as a result the aria fails to have the cathartic impact on me that it has when I have heard it in Metropolitan Opera broadcasts. .... Ragon gives an excellent, highly memorable performance in the four "grotesque" roles.
Now I may turn to the disappointing features of this recording. ....(T)his recording contains no extra-musical sound effects whatsoever. To a certain extent this is a valid approach to recording an opera. The problem is that "Hoffmann" contains an unusually high number of passages which were composed with the extra-musical sounds that would be heard from the stage in mind and which lack some of their intended impact without sound effects. The effectiveness of the students' drinking song is reduced when we don't hear them banging their glasses together and on the tables, and without the winding-up sound the pauses in Olympia's song when she runs down make less sense. We also should hear Coppelius smashing Olympia, Hoffmann and Schlemil moving around heavily as they duel, the death-gasp of another character who dies in the new ending of the Giulietta act (I won't spoil the unfamiliar twists of plot here), and various other sound effects which would add to the drama of the story. Moreover, Van Dam's villains never laugh except when their laughter is notated in the score, even though the libretto specifies some additional evil laughs, notably the one as Dr. Miracle disappears and Antonia falls dying at the end of the trio for Miracle, Antonia and the voice of Antonia's mother.
One of the main problems with the recording is that Van Dam, Ragon and Dubosc are the only performers to play multiple roles. Not only are the heroines played by four different sopranos, but none of the artists who play Luther and the students reappear in other roles in the acts devoted to Hoffmann's three stories. All of this goes against what are presumed to be Offenbach's wishes for his opera, despite the fact that this is a recording of Kaye's critical edition (in its "grand opera" version). Moreover, this recording was, unfortunately, made before Offenbach's own finished finale for the Giulietta act, written very shortly before his death, became available for inclusion in Kaye's edition. ....
Finally, it seems bizarre that the aria "Scintille, diamant," which has been one of the most popular numbers in the opera for a long time, is not included on this recording. ....
Despite these flaws, this recording is recommended. It is extremely enjoyable and represents the totality of Offenbach's intentions for "Hoffmann" more fully than any other recording currently available. One hopes that a new recording of Kaye's edition, with the definitive ending for the Giulietta act and with a single soprano playing all four heroines, will be made in the not-too-distant future.
O Dieu, de quelle ivresse embrasse-tu mon âme?.......1999-11-21
This recording is undoubtedly one of the two benchmark recordings of this opera, the other one being the classic Sutherland/Domingo/Bonynge set. It is the most complete set with the "newly-discovered" Giuletta ending, and even includes the terrific but apocryphal sextet that is missing in the Bonynge recording. Alagna is the true star here, reflecting the spirit of Hoffmann throughout the opera, and singing in a very ideomatic French (unlike Domingo). The four heroines are marvellous, even though I prefer a single soprano singing all the four roles. Van Dam is great as the four villians, but he could have been more sinister in the trio in the Antonia act. Nagano is fine, but has some problems with the tempi at times.
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Lamentations: Holy Week in Provence
Anne Azema , William Hite & Christopher Kale , and Paul Guttry Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD Gilles, Jean
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ASIN: B000005EDN Release Date: 1995-03-07 |
Tracks:
- Heu! unux ex vobis me tradet hodie
- Mais qui vos meut, Seigneur
- dit Carpentras: Vexilla regis
- Premiere Lamentation pour le Mercredy Saint au Soir
- Comme Trois Forgerons
- Ha! Plange
- Premiere Lamentation pour le Jeudy Saint au Soir
- Sur L'Albre de la Crotz
- Ne avertas facium tuam
- Permiere Lamentation pour le Vendredy Saint au Soir
Customer Reviews:
A wonderful discovery.......2005-06-28
Most other French Baroque lamentations are composed on a small scale, but these by Gilles are quite large, more in the tradition of grands motets. They employ a full complement of soloists plus chorus, with obbligato instruments. The music is sublime; usually quite understated, but occasionally bursting forth with energy and drama.
Gilles proves himself to be a master of wonderfully poignant melodies. The mood us mainly quite sombre, but is broken up somewhat by the contrasting textures (if not mood) of the works by Carpentras and Bouzignac, the latter of which is a truly unique composer and deservse more renown.
The performances are faultless, especially the solo singers who capture the delicate French ornaments exquisately.
This is a very rewarding performance, and a delight in all respects. Highly recommended
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Comme Vous
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