Je Dis Aime [Import]

Product Description
Second Album From A Quirky Singer-Songwriter-Multi-Instrumentalist Reminiscent A Bit Of A French Version Of Lenny Kravitz, Especially In The USe Of Vintage 70's Sound And Textures. Up And Coming French Pop Artist Who Won The 2000 Victoires De La Musica. EMI. 2005.

Je Dis Aime,M,EMI/Virgin,Rock/Pop,World Music

Average customer rating: I would give it 6 stars if I could! Get this CD. i'm back Fabulous Francophone

Je Dis Aime -M- Manufacturer: EMI/Virgin ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music France | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music Dance Pop | Compilations | Dance & DJ | Styles | Music International | Imports | Stores | Music Rock | Imports | Stores | Music Similar Items: Qui de Nous Deux Le Bapteme Le Tour de -M- Caravane Sac Des Filles ASIN: B00004UJES Release Date: 2000-06-15

Tracks:

1. Monde Virtuel
2. Je Dis Aime
3. Onde Sensuelle
4. A Celle Qui Dure
5. Faut Oublier
6. Le Festival De Connes
7. Le Mec Hamac
8. Close To Me
9. Emilie 1000 Volts
10. Qui Est Le Plus Fragile
11. Le Complexe Du Corn Flakes
12. Au Lieu Du Crime
13. Bonoboo
14. Le Commun Des Motels
15. Mama Sam

Album Description

Second Album From A Quirky Singer-Songwriter-Multi-Instrumentalist Reminiscent A Bit Of A French Version Of Lenny Kravitz, Especially In The USe Of Vintage 70's Sound And Textures. Up And Coming French Pop Artist Who Won The 2000 Victoires De La Musica. EMI. 2005.

Album Details

Second Album from a Quirky Singer-songwriter-multi-instrumentalist Reminiscent a Bit of a French Version of Lenny Kravitz, Especially in the Use of Vintage 70's Sound and Textures. Up and Coming French Pop Artist who Won the 2000 Victoires De La Musica.

Customer Reviews:

I would give it 6 stars if I could!.......2006-11-20

The first time I saw "M" was on French TV. I was flicking through the channels and I caught a glimpse of one of his live performaces. I didn't give it more than a few seconds--I liked the song (Tete a tete) but then, I clicked the remote and moved on to watch my show.

Then, one day, I heard a financial advisor and CPA (almost a senior citizen to boot) mention "M" and the concert and how talented he thought he was...I did a double take (we were having dinner) and I said "The guy with the strange hairdo? Really?" THAT caused me to pick up M's "Qui de nous deux" and listen to it. I was sold.

Then I listened to "Le Bateme"... I was amazed.

Then I listened (with headphones...OK...?) to "Je dis Aime" and I am now convinced that "M" is a fuzion of Brian Wilson, Paul McCartney and Lennon. Sooner or later, someone was bound to appear onto the music scene, that would get inspired by all the music traditions (mainly Lennon/McCartney and Wilson) and give us a new genre... M is it. By the way, I have a lot of respect of Polnareff as well...

Even the cover is amazing.

Get it. Listen to it. And savor.

Get this CD........2006-06-24

When I first heard -M-'s music, it was in the backseat of my friend's car. She popped in this crazy looking CD and "A Celle Qui Dure" (off the album 'Je Dis Aime') came blasting out. Despite my own musical preferences for classic/indie rock, I found myself amazed by the energy and funkiness of -M-'s music.

Whether you like pop, rock, funk... whatever, get something of -M-'s and give it a listen. He's not well known in America, but -M- is a musical superstar in France and the rest of Europe, and for good reason! -M- has an incredible voice, plays the hell out of the guitar (he draws influences from everyone from Hendrix to Halen), and writes songs that, among other shining adjectives, are just FUN.

There isn't really a specific track I could tell you to play -- the CD opens right up with good stuff and it doesn't really let up until the end. "A Celle Qui Dure" roils with contagious funk-jazz, "Je Dis Aime" is a pop rock masterpiece, "Bonoboo" allures with its sultry, jazzy tones, "Close to Me" is an awesome, playful cover of the song by 'The Cure'.

There are more than a dozen sweet tracks on this CD. It doesn't matter if you don't know French -- I don't know a bit of it either, and I love this guy!

Seriously, buy this CD. It's really cheap on here and it's definitely worth a listen.

i'm back.......2001-10-04

well, I ranted no end about his first CD already, but truly, this guy has an exquisite musical sense and voice although he is no belter. Sensitive, gifted, funny in a most deadpan way, he also promotes an association of clowns that go see hospitalized kids (in France). He is very very good. And I wanna meet him - I can say this discreetly here, 'cause he isn't too fond of american imperialism and its influence on our complex french culture, but it's ok, I'll introduce him when i meet him...

Fabulous Francophone.......2000-08-15

Although I love the French language and speak it fairly well and have some very good francophone friends, I'd be lying if I said I enjoyed francophone music. This has always been disappointing because I am such a music lover, but after repeated attempts I can't force myself to listen to French pop (Axelle Red, Hallyday, Gerry, you all know who you are) without stimulating my gag reflex. I refused to give up hope, though, figuring there must be some true musicians out there. I have just returned from living in Montreal for a few months, a city which hosts the annual music festival "Les Francofolies." M put on a fabulous show at a club one night, then offered a surprise outdoor show the next (et gratuit!). There are some real gems on this album, in particular his magnificent cover of the Cure's "Close to You." Francophone music needs more artists like M.

Average customer rating: Wonderful CD Versailles, Le Roi Soleil, et Lully A great introduction to the father of French opera

Lully: Les Divertissements de Versailles Jean-Baptiste Lully , Les Arts Florissants , William Christie , Sophie Daneman , and Paul Agnew Manufacturer: Erato ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by Lully | Lully, Jean-Baptiste | ( L ) | Featured Composers, A-Z | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Christie, William | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Similar Items: Jean-Baptiste Lully: L'Orchestre du Roi Soleil Lully - Ballet Music for the Sun King / Mary Enid Haines · Aradia Baroque Ensemble · Kevin Mallon Lully: Le Roi Danse François Couperin: Les Concerts Royaux Imperial Fanfares ASIN: B000063TE8 Release Date: 2002-06-11

Tracks:

1. Prelude pour les trompetes
2. Chantons les plaisirs charmants
3. Quittons notre vaine querelle
4. Chantons tous de l'Amour
5. Enfin il est en ma puissance
6. Chere Climene, dis-moi
7. Je vous aime, Nymphe charmante & Plainte du Dieu Pan
8. Duo des Nymphes
9. Laisse-nous en repos, Philene
10. L'hiver qui nous tourmente
11. Que le feu des forges s'allume
12. Trop indiscret Amour
13. Ah! J'attendrai longtemps
14. Armide, vous m'allez quitter/Passacaille

Customer Reviews:

Wonderful CD.......2005-09-22

I only would like to say that this is a first class disc. I love classical music since the barroque century to our days. Thank you very much.

Versailles, Le Roi Soleil, et Lully.......2002-06-19

Great music, wonderfully performed, historically accurrate,
what else could we ask for.

A great introduction to the father of French opera.......2002-06-11

Considering his historical importance as the founder of French Baroque opera, it is perhaps surprising that Jean-Baptiste Lully has not received the same degree of attention on disc as his rivals and followers. The revival of French Baroque music which has been such a phenomenon over the last two or three decades has only rarely paid him much attention. Listeners seem to find the harmonic daring of Marc-Antoine Charpentier or the incredible colour and imagination of Jean-Philippe Rameau far more to their taste. Lully's suave, well-crafted music is often dismissed as bland beside the music of these figures and that of Lully's English follower, Purcell. But as this well-filled (78 minutes) disc of extracts from the whole range of his stage music demonstrates, Lully was a considerable and innovative composer in his own right. If you are new to Lully, this is the ideal place to start.

The new recording tells the story of how this ambitious, and frequently ruthless, young Florentine transformed himself into a French citizen and friend of "Le Roi Soleil", just as he transformed the Italian opera of the mid-seventeenth century into something uniquely Gallic. Lully began by catering to the young King Louis XIV's mania for dance with a series of comedies-ballets written in collaboration with Moliere. Extracts from two of them, "Georges Dandin" and "L'Amour Medecin" are included here, where the Italian influence is still strong with plenty of lively comedy. This phase of Lully's career culminated with the amazing five-hour extravaganza, "Psyche", in 1671. Two powerful choruses from this divertissement start the disc.

It was while he was working on "Psyche" that Lully met the librettist Philippe Quinault who was to be his partner in forging a distinctively French form of opera, the 'tragedie lyrique'. Quinault's contribution was vitally important since Lully saw opera as an equal marriage of words and music. The key would be expressive recitative rather than the show arias that dominated the Italian 'opera seria' of the time. The chorus and ballet would also play a major part in the divertissements which ended each act, offering a chance for Lully to show off his musical imagination. Some of the best examples of this come in the extracts from the opera "Isis" (1677) included here. In fact the first audience found the music rather too imaginative and it soon acquired the reputation as a work for connoisseurs only, 'the musicians' opera'. One of the connoisseurs who appreciated it was Henry Purcell. The "Scene de Froid" inspired him to write the wonderfully atmospheric Frost Scene in his "King Arthur" (1691). You can hear immediately what appealed to the Englishman's imagination - the chattering chorus and shivering violins conjure up a vivid impression of extreme cold. It is quickly followed by a scene depicting blazing heat - the smithy of the Chalybes, where the ringing percussion suggests the music of Wagner's Nibelheim two hundred years later. But the most haunting music is a lament by the god Pan for the nymph Syrinx, after her transformation into a reed. It is touchingly accompanied by woodwind and an organ. The characteristic Lullian blend of words and music (which is possibly one reason why many non-French speaking Baroque enthusiasts find a whole Lully opera hard to listen to) is illustrated by scenes from "Armide" and "Roland". In the latter, the hero Roland searches for his lost love Angelique. Lully's music conjures up a beautiful pastoral scene using only smoothly sliding strings, becoming more and more troubled as Roland learns from the names carved into the trees that his beloved has married his rival, Medor. Finally, Roland explodes into rage, his anguish turns to madness and the music rages too. In "Armide", the eponymous heroine, a pagan sorceress, has lulled the Christian hero Renaud asleep so she can stab him to death. However, when she sees him lying defenceless, she falls in love with him and cannot bring herself to commit the murder. Armide's monologue included here, where she hesitates between hatred and love, has always been rightly regarded as one of the high points of the entire French repertoire with its masterly psychological depiction of the tortured enchantress. The disc ends with a love duet between Armide and Renaud from the final act of the opera, followed by another dance, the massive 'grande passecaille'. Its interweaving musical lines have an extraordinary, hypnotic beauty.

Christie's staging and recording of the opera "Atys" is widely considered one of the landmarks in the revival of Lully and this new disc is generally very well performed. My one quibble is with Rinat Shaham who takes the part of Armide - her voice is not really powerful enough to suggest the mighty sorceress, especially when compared with Guillemette Laurens who took the role in the complete recording under Philippe Herreweghe. But otherwise, highly recommended, especially to those who have yet to appreciate Lully's considerable musical gifts. (Brys)

Average customer rating:

Grandi Voci: Régine Crespin Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music ASIN: B00000422I Release Date: 1994-11-15

Tracks:

1. Cette nuit...O toi qui prolongeas mes jours
2. D'amour l'ardente flamme (Romance de Marguerite)
3. O ma lyre immortelle
4. La voila...L'amour est un oiseau rebelle (Habanera)
5. Seguidilla
6. Portez armes...J'aime les militaires
7. Dis-moi Venus
8. Tu n'es pas beau...Je t'adore
9. O mon cher amant, je te jure (Air de lettre)
10. Ah! quel diner
11. Moi je m'appelle
12. Y'a des arbres...C'est sa banlieue
13. Ah! cher monsieur, excusez-moi
14. J'ai deux amants
15. Saison d'amour
16. Je ne suis pas
17. Je t'aime

Average customer rating: A star among modern Werthers, but there are others Another Smash Hit From The French Opera Specialists ¿El mejor Werther despues de Kraus? Best Werther recording since the 1930s thoughts on "Werther"

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 | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Massenet - Manon / Gheorghiu, Alagna, Patriarco, van Dam, Ragon, Rivenq, Panzarella, Koch, Schimmack, Pappano Puccini - La Rondine / Gheorghiu · Alagna · Matteuzzi · Mula · Rinaldi · Ciofi · Bacelli · LSO · Pappano Massenet: Le Jongleur de Notre Dame Puccini - Il Trittico / Alagna, Gheorghiu, Guelfi, Guleghina, Gallardo-Domás, Manca di Nissa, Palmer, Shicoff, van Dam, Pappano Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli ASIN: B00001ZSVU Release Date: 1999-10-19

Tracks:

1. Werther: Prelude (Orchestra)
2. Werther: Act One: Assez! Assez! M'ecouterat-on cette fois? (Le Bailli, Les Enfants)
3. Werther: Act One: Bravo pour les enfants! (Johann, Schmidt, Les Enfants, Le Bailli, Sophie)
4. Werther: Act One: Alors, c'est bien ici la maison du Bailli?
5. Werther: Act One: Je ne sais si je veille (Werther)
6. Werther: Act One: Jesus vient de naitre!...Chers enfants! (Les Enfants, Werther)
7. Werther: Act One: Ah! comme ils sont meilleurs que moi! (Werther, Les enfants, Le Bailli)
8. Werther: Act One: Arrivez donc, Bruhlmann! (Le Bailli, Charlotte, Werther, Sophie)
9. Werther: Act One: O spectacle ideal d'amour et d'innocence (Werther)
10. Werther: Act One: Monsieur Werther!...Vivat Bacchus, semper vivat! (Le Bailli, Charlotte, Sophie)
11. Werther: Act One: Sophie!...Albert! Toi de retour! (Albert, Sophie)
12. Werther: Act One: Elle m'aime!...Quelle priere de reconnaissance et d'amour (Albert)
13. Werther: Act One: Interlude (Orchestre)
14. Werther: Act One: Interlude (continued) ...Il Faut nous separer
15. Werther: Act One: Mais vous ne savez rien de moi
16. Werther: Act One: Reve! Extase! Bonheur! (Charlotte, Werther)
17. Werther: Act One: Charlotte! Charlotte! Albert est de retour! (Le Bailli, Charlotte, Werther)
18. Werther: Act Two: Prelude (Orchestre) ....Vivat Bacchus! Semper vivat!
19. Werther: Act Two: Allez, chantez l'office (Johann, Schmidt)
20. Werther: Act Two: Trois mois! Voici trois mois que nous sommes unis! (Albert, Charlotte)
21. Werther: Act Two: Un autre est son epoux!
22. Werther: Act Two: J'aurais sur ma poitrine (Werther)
23. Werther: Act Two: Si! Katchen reviendra, je vous dis! (Schmidt, Johann)
24. Werther: Act Two: Au bonheur dont mon ame est pleine...Vous l'avez dit: mon ame est loyale et sincere (Albert, Werther)
25. Werther: Act Two: Frere, voyez! Voyez le beau bouquet!...Heureux! Pourais-je l'etre encore? (Sophie, Werther, Albert)
26. 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
27. Werther: Act Two: N'est-il donc pas d'autre femme
28. Werther: Act Two: Oui, ce qu'elle m'ordonne
29. Werther: Act Two: Lorsque l'enfant revient d'un voyage avant l'heure
30. Werther: Act Two: Mais venez donc! le cortege s'approche (Sophie, Werther, Charlotte, Albert)

Tracks:

1. Werther: Act Three: Prelude (Orchestra)
2. Werther: Act Three: Werther! Werther!...Qui m'aurait dit la place
3. Werther: Act Three: Des cris joyeux d'enfants montent sous ma fenetre (Charlotte)
4. Werther: Act Three: Bonjour, grand soeur! (Sophie, Charlotte)
5. Werther: Act Three: Va! Laisse couler mes larmes (Charlotte)
6. Werther: Act Three: Tiens, Charlotte, crois-moi, ne reste pas ici (Sophie, Charlotte)
7. Werther: Act Three: Ah! mon courage m'abandonne! (Charlotte)
8. Werther: Act Three: Qui, c'est moi! Je reviens! (Werner, Charlotte)
9. Werther: Act Three: Ha! bien souvent...Toute mon ame est la!...Pourquoi me reveiller, o souffle du printemps? (Werner)
10. Werther: Act Three: N'achevez pas! Helas!
11. Werther: Act Three: Ah! Moi! Moi, dans ses bras! (Charlotte, Werther)
12. Werther: Act Three: Werther, est de retour...on la vu revenir (Albert, Charlotte)
13. Werther: Act Four: Entr'acte: La Nuit de Noel (Orchestra)
14. Werther: Act Four: Werther! Werther! Rien! (Charlotte)
15. Werther: Act Four: Qui parle? Charlotte, ah! c'est toi!
16. Werther: Act Four: A cette heure supreme, je suis heureux (Charlotte, Werther)
17. Werther: Act Four: Noel! Noel! Noel!...Dieu! Ces cris joyeux (Les Enfants, Charlotte, Werther, Sophie)
18. 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 Stearns

Customer Reviews:

A star among modern Werthers, but there are others.......2006-05-28

The reviewers below have praised this EMI Werther so thoroughly that there's little to add. Gheorghiu is the only soprano besides Victoria de los Angeles (1868, also on EMI) to record this classic mezzo role, and at times one hears the strain as she reaches for the bottom notes. She lacks de los angeles's many emotional shadings, giving us instead a fairly consistent, verismo-tinged passion, but her vocalism as such is thrilling.

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

Husband and wife singing sensatio Roberto Alagna and Angela Gheorghiu, in another stunning EMI recording, dramatically commit themselves to the passionate characters in this now forgotten opera Werther, which quite possibly is Massenet's best work. Although Alagna and Gheorghiu can sing the Italian opera repertoire with aplomb (Tosca, Trovatore, Boheme, Pagliacci, La Rondine) they have proven time and again that their strongest reperotoire is French opera. As soon as their Romeo Et Juliette hit record stores and stage houses, they were immediately hailed as today's finest French opera singers, a rarity. Not only do they possess beautiful voices but they are intensely dramatic and character-driven. Never more so than in Massenet's Werther, a Gothic romantic drama about the tormented love of the titular hero who kills himself. It's drawn from a popular Romantic-Era 19th century novel - The Sorrows of Young Werther. Both Alagna and Gheorghiu are in great vocal shape. They understand the significance of the text and they are blessed with the talents of their champion conductor, Antonio Pappano, who draws out the power in the musical score with the London Symphony Orchestra. All true fans of Alagna and Gheorghiu will want to own this one, as it is indeed their best work yet.

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

Sorprendente acierto de la EMI (la casa para la que grababa Alfredo Kraus, uno de los interpretes de referencia del papel de 'Werther') al confiar a una de las parejas mas activas discograficamente del momento, Roberto Alagna y Angela Gheorghiu, la grabacion de 'Werther' en 1999 (justo el año de la muerte del mitico Kraus)
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

I will admit that I am "imprinted" on the Georges Thill/Ninon Vallin recording from the 1930s and no recording since then has even come close. But this recording does. Alagna (who is a native French speaker, in spite of the Italian name) has the diction and, more important, the style to sing poor Werther perfectly. Gheorghiu sings beautifully as well, and there is no problem with the tessitura, in spite of Charlotte generally being more comfortable for mezzos. Pappano is an up-and-coming conductor who does himself proud with this recording. I wouldn't hesitate to recommend this one.

thoughts on "Werther".......2000-01-07

Perfect casting for the title role... Alagna feels *good* and sorry for himself...no problems there! Just listen to him belt and bleat through "Pourquoi"...it's no wonder Charlotte changes her mind. "Stop whining!"

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: SONGS OF INNOCENCE Anne Sofie brings Chaminade's songs to light and life! Delightful Musical Archaeology of a Very High Order

Mots D'Amour: Songs By Cecile Chaminade Anne Sofie von Otter , Cécile Chaminade , and Bengt Forsberg Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Anne Sofie von Otter Sings Offenbach Songs by Bizet Anne Sofie von Otter - Beethoven, Meyerbeer, Spohr ~ Lieder / Melvyn Tan Anne Sofie von Otter - Love's Twilight (Late Romantic Songs by Berg, Korngold, Strauss) Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn) ASIN: B00005OM82 Release Date: 2002-02-12

Tracks:

1. Melodies: Ronde D'amour: 'Ah! Si L'amour Prenait Racine'
2. Melodies: La Lune Paresseuse: 'Dans Un Rayon De Crepuscule'
3. Melodies: Sombrero: 'Qu'elle Etait Mutine Et Coquette'
4. Melodies: Mignonne: 'Mignonne, Allons Voir Si La Rose'
5. Melodies: L'Anneau D'argent: 'Le Cher Anneau D'argent'
6. Melodies: Ma Premiere Lettre: 'Helas! Que Nous Oublions Vite'
7. Melodies: L'Amour Captif: 'Mignonne, A L'amour J'ai Lie Les Ailes'
8. Melodies: Attente (Au Pays De Provence): 'Je Ne Sais A Quoi Je Reve'
9. Melodies: Voisinage: 'Je N'avais Pas Encor Vingt Ans'
10. Melodies: Bonne Humeur: 'Nous Marchions Sous La Fine Pluie'
11. Melodies: Alleluia: 'J'avais Doute De Votre Amour'
12. Melodies: Malgre Nous: 'Ce N'est Pas la Faute A Nous Deux'
13. Melodies: Nice-La-Belle: 'Quand Ton Ciel Se Dore'
14. Melodies: Menuet: 'Dans Votre Robe A Grands Paniers'
15. Melodies For Voice, Violin And Piano: Te Souviens-tu?: 'Te Souviens-Tu De Ta Promesse'
16. Melodies For Voice, Violin And Piano: Aupres De Ma Mie: 'Si J'etais L'oiseau Leger'
17. Melodies For Voice, Violin And Piano: Viens! Mon Bien-Aime!: 'Les Beaux Jours Vont Enfin Renaitre'
18. Melodies For Voice, Violin And Piano: Si J'etais Jardinier: 'Si J'etais Jardinier Des Cieux'
19. Melodies For Voice, Violin And Piano: Villanelle: 'Le Ble Superbe Est Rentre'
20. Melodies For Voice, Violin And Piano: Mots D'amour: 'Quand Je Te Dis Des Mots Lasses'
21. Melodies For Voice, Violin And Piano: Ecrin: 'Tes Yeux Malicieux'
22. Melodies For Voice, Violin And Piano: Espoir: 'Ne Dis Pas Que L'espoir'
23. Melodies For Voice, Violin And Piano: Chanson Triste: 'Dans Les Profondes Mers'
24. Melodies For Voice, Violin And Piano: Je Voudrais...: 'Je Voudrais Etre Une Fleur'
25. Melodies For Voice, Violin And Piano: L'Ete: 'Ah! Chantez, Chantez!'
26. Pieces For Violin & Piano: Serenade Espagnole Op.150
27. Pieces For Violin & Piano: Rondeau Op.97
28. Pieces For Violin & Piano: Capriccio Op.18
29. Pieces For Two Pianos: Valse Carnavalesque Op.73
30. Pieces For Two Pianos: Pas Des Cymbales Op.36 No.2
31. Pieces For Two Pianos: Danse Paienne Op.158

Amazon.com

Just take it as read that Anne Sofie von Otter is in her usual captivating form. Her legions of fans needn't think twice before acquiring this fascinating new album. What, though, of the music itself? Pianist and composer Cécile Chaminade, born in Paris in 1857, is known to aficionados as a composer of piano miniatures, a fact reflected in what has crept into the recording catalogue over the years. Here, though, are the fruits of pianist Bengt Forsberg's enthusiasm for the songs. And irresistible they are, too. How on earth have such imaginative, charming, elegant, and beautifully crafted melodies (all on the subject of amour) escaped widespread acknowledgement for so long? There's a wide range of moods, from the bubbling "Malgré Nous" and the whimsical "L'Amour captif" to the passionate "Te souviens-tu?" and the reflective, bittersweet "Ma première lettre." As you might expect from a pianist-composer, the accompaniments are delightful, a fact relished to the full by Forsberg. Von Otter identifies with every phrase (barring the odd rather unseemly scoop) and emotion. Various short pieces for violin and piano, and two pianos, provide an engagingly performed bonus. --Andrew Green

Customer Reviews:

SONGS OF INNOCENCE.......2005-05-21

As it happens, I have been moderately familiar with the music of Cecile Chaminade for a number of years, so perhaps I can give anyone curious but uncertain what to expect some idea of what he or she will find on this disc. Chaminade seems to have been totally celibate her entire life. She eventually abandoned music for exhausting work as a hospital administrator in the first world war. Debilitation due to this cause and, according to the sleeve note, to an excessively vegetarian diet led to her losing a foot through amputation, but she lived on until age 87, dying in 1944. Her musical style is in many obvious senses conservative. The harmonic advances of Debussy and Ravel, and even of Faure, find no echo in her work. The style is very French, and there may be some influence of Saint-Saens, but for me there are odd reminiscences of Berlioz, himself a lot more innocent in many ways than he liked to let on.

The 25 love songs here are, with only one exception unless my ears deceive me, in major keys. The only poet whose name is familiar to me is Ronsard, and the sentiments are chaste and asexual from start to finish. Despite that they manage to sound very Parisian and ooh-la-la. They are not pale and maidenly but full of high spirits and energy. There are no dark shadows even in the minor-key number, and not a hint of the worldly-wisdom of Jane Austen. The piano parts are boldly written and occasionally quite demanding, and there is also a violin obbligato in the Minuet. In addition we are given three violin/piano duos (one arranged by Kreisler) and three slightly larger works for two pianos, in which it would be possible to hear the idiom of Saint-Saens but not for certain.

Anne Sofie von Otter's expression in the photographs will tell you at a glance how she intends to go about the songs. Her voice is nothing like Piaf's of course, and the songs would not bring the house down at the Paris Olympia, but she gets as near to that style as artistic integrity allows. Her French sounds very good indeed to me, and she gives Chaminade everything she has got, all vivacity, extroversion and joie-de-vivre. Chaminade seems to have nothing to regret either.

The other artists distinguish themselves thoroughly. The feel of enjoyment about this recital comes through as strongly from Bengt Forsberg's vigorous and dexterous piano-playing as from the singer herself. The violin parts are done very well, joining in the general mood, and there is a fine sturdy contribution on the second piano from Peter Jablonski. Everything about this disc delighted me from start to finish. The recorded sound is just about ideal for the purpose, and even the liner note is very good. Full texts of the songs are of course provided, with English translation and German Uebersetzung. One of the songs proclaims `Je voudrais etre une fleur'. It's a bit late now, but I sometimes wonder whether innocence doesn't have more to be said for it than we are vectored into believing in these enlightened days.

Anne Sofie brings Chaminade's songs to light and life!.......2004-03-20

Anne Sofie brings Chaminade's vocal music to an elevated level with Berlioz, Faure and Duparc in the classical world. Most of these pieces were unheard of until von Otter brought them to the public's attention with her beautiful interpretation of Chaminade's melody and text. Bengt Forsberg provides support that opens the gateway to a beautiful and expressive performance of these melodies. This is truly a treasure for any classical vocal library!

Delightful.......2003-12-10

This delightful CD of music by Cecile Chaminade, was the inspiration of Bengt Forsberg. He spent decades searching for and "collecting her music in second-hand music shops." While collaborating with Anne Sofie von Otter on another program, Forsberg showed her these neglected songs. The result was this wonderful CD. Probably you should listen to this CD for the Chaminade melodies. (25 of the 140 songs are presented here). But, Forsberg has also recorded the pieces for violin & piano and pieces for two pianos with Spaft, and Jablonski. The inclusion of these pieces, gives us a more complete idea of Chaminade's range of composition.

The artistry of von Otter, is captivating, and Forsberg clearly has an affinity for Chaminade's romantic French music.

It is easy to record and sell the tried and true, but Anne Sofie von Otter and Bengt Forsberg (and DG) have done something risky in recording Chaminade's music. She is not Mozart. At the time of this writing this recording ranked 38,201 on Amazon.com's sale ranking system. And so, perhaps it will not payoff for the artists and the company involved. Perhaps this CD will not be available for long. Perhaps. But IT IS available NOW, and so I encourage anyone who reads this to find a way to hear this delightful music in these nearly perfect performances.

I highly recommend it.

Musical Archaeology of a Very High Order.......2002-05-30

It is hardly news to say that Anne Sophie von Otter is quite, quite amazing; she has, in her way, reached the point that a celebrated stage actress might, at which we would say that she could recite the telephone book and we would listen gratefully.

Fortunately for us she is instead singing the lovely songs of the undeservedly obscure Cecile Chaminade, whose exquisite and entirely retrograde songs are given their due and more in these sensitive and heartfelt performances. Several cheers at least should be given for the worthy contributions of pianists Bengt Forsberg and Peter Jablonski (the former on both song accompaniments and the instrumental tracks that end the album) as well for Nils-Erik Sparf on violin.

This collection is just the thing for anyone fond of intelligent singing, sentimental poetry, or music that aims to warm a tired heart. It is most of all for anyone who knows, with Mlle. Chaminade, that one might someday forget one's first love letter, but never the feeling that inspired it...

Average customer rating: Not a flawless version, but one to be REALLY loved The best of a mediocre-to-bad lot Hoffman contines to elude the recording world Excellent but not definitive O Dieu, de quelle ivresse embrasse-tu mon âme?

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 | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music Alagna, Roberto | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna Russian Album ASIN: B000005E4D Release Date: 1996-10-29

Tracks:

1. Les Contes D' Hoffmann: Prelude - Kent Nagano
2. Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
3. Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
4. Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
5. Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
6. Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
7. Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
8. Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
9. Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
10. Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
11. Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
12. Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
13. Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
14. Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
15. Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
16. Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
17. Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
18. Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
19. Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
20. Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
21. 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
22. Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
23. Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
24. Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
25. Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
26. Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
27. Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
28. Les Contes D' Hoffmann: Serviteur - Kent Nagano
29. Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
30. Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
31. Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
32. Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
33. Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
34. Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
35. Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
36. Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
37. Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
38. Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
39. Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
40. Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
41. Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
42. Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
43. Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano

Tracks:

1. Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
2. Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
3. 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
4. Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
5. Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
6. Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
7. Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
8. Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
9. Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
10. Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
11. Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
12. Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
13. 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
14. Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
15. Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
16. Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
17. Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
18. Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
19. Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
20. Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
21. Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
22. Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
23. Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach

Tracks:

1. Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
2. Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
3. Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
4. Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
5. 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
6. Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
7. Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
8. Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
9. Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
10. Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
11. Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
12. Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
13. Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
14. Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
15. Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
16. Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
17. Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
18. Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
19. Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
20. Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
21. Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
22. Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
23. Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
24. Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
25. Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
26. Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
27. Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
28. Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
29. Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
30. Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
31. Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
32. Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
33. Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
34. 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 Stearns

Customer Reviews:

Not a flawless version, but one to be REALLY loved.......2006-05-09

This is a recording with significant highs and lows. But in overall it is an excellent account of this wonderfully tuneful and beloved opera.
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

I have heard six recordings of "Hoffmann," an opera that is particularly dear to me for sentimental reasons. None of them are perfect, all have flaws, but on balance this is the best of the lot.

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

This is a very good Hoffman, with the new edition of the score and a lot more music than in earlier editions. There is MUCH here to be admired and enjoyed as there is in the classic Domingo/Sutherland recording.

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

This recording has given me many hours of listening pleasure. Pretty much every artist featured in it gives an excellent performance, and the greatness of Offenbach's opera is conveyed more fully than can be done by other performances that contain less of what he composed for "Hoffmann" before his untimely death. However, the recording has several specific faults that result in my giving it only 4 stars, even though it is among my favorite operatic recordings.

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

Comme un concert divin ta voix m'a pénétré!....

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.

Average customer rating:

Geraldine Farrar in French Opera Manufacturer: Nimbus Records ProductGroup: Music Binding: Audio CD All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Geraldine Farrar in Italian Opera Nellie Melba Galli-Curci: Prima Voce Conchita Supervia: In Opera And Song Elizabeth Rethberg (Prima Voce) ASIN: B0000037KS Release Date: 1995-10-03

Tracks:

1. Manon: Act 2: Allons! Il Le Faut... Adieu, Notre Petite Table - Geraldine Farrar
2. Mignon: Act 1: Connais-Tu Le Pays? - Geraldine Farrar
3. Mignon: Act 2: Je Connais Un Pauvre Enfant - Geraldine Farrar
4. Romeo Et Juliette: Act 1: Je Veux Vivre Dans Ce Reve - Geraldine Farrar
5. Romeo Et Juliette: act 1: Ange Adorable - Geraldine Farrar
6. Thais: Act 3: Te Souvient-Il Du Lumineux Voyage - Geraldine Farrar
7. Les Contes D'Hoffmann: Act 3: Belle Nuit, O Nuit D'Amour - Geraldine Farrar
8. Carmen: Act 1: L'Amour Est Un Oiseau Rebelle - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
9. Carmen: Act 1: Pres Des Remparts De Seville - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
10. Carmen: Act 2: Les Tringles Des Sistres Tintaient - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
11. Carmen: Act 2: Couplets Du Toreador - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
12. Carmen: Act 2: Halte La! Qui Va La? - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
13. Carmen: Act 2: Au Quartier! Pour I'Appel! - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
14. Carmen: Act 2: Air De La Fleur - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
15. Carmen: Act 2: Non, Tu Ne M'Aimes Pas...La-Bas, Dans La Montagne - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
16. Carmen: Act 3: Voyons Que J'Essaie - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
17. Carmen: Act 3: Je Dis Que Rien Ne M'Epouvante - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
18. Carmen: Act 4: Aragonaise: Prld To Act 4 - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
19. Carmen: Act 4: Si Tu M'Aimes, Carmen - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
20. Carmen: Act 4: C'Est Toi! C'Est Moi! - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato
21. Carmen: Act 4: Mais Moi, Carmen, Je T'Aime Encore - Geraldine Farrar/Giovanni Martinelli/Pasquale Amato

Average customer rating:

Boxset (Le Bapteme/Je Dis Aime) ProductGroup: Music Binding: Audio CD France | Continental Europe | Europe | International | Styles | Music International | Imports | Stores | Music ASIN: B000UAEBNC Release Date: 2007-09-18

Average customer rating:

Dis Lui Toi Que Je T'aime Vanessa Paradis Manufacturer: Polydor ProductGroup: Music Binding: Audio CD General | International | Styles | Music General | Rock | Styles | Music ASIN: B000LX5STE

Average customer rating: I say love. If you like a different tune Music : yes, Voice : no

Je Dis Aime -M- Manufacturer: Virgin France ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music France | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music General | Pop | Styles | Music Dance Pop | Compilations | Dance & DJ | Styles | Music General | International | Indie Music | Stores | Music Rock | Imports | Stores | Music ASIN: B00004WF4C Release Date: 2001-05-15

Tracks:

1. Monde Virtuel
2. Je Dis Aime
3. Onde Sensuelle
4. Celle Qui Dure
5. Faut Oubier
6. Festival de Connes
7. Mec Hamac
8. Close to Me
9. ilie 1000 Volts
10. Qui Est le Plus Fragile?
11. Complexe du Corn Flakes
12. Lieu du Crime
13. Bonoboo
14. Commun des Motels
15. Mama Sam

Customer Reviews:

I say love........2003-03-12

M combines clever pop/rock songwriting, excellent musicianship, top-notch production and a unique vocal style. Highly listenable, even if it does suffer in comparison to his astonishing debut, 'Le Baptême'.

If you like a different tune.......2003-02-04

M is awesome. I, by chance, got a listen to his music while in France and I found him as a talented personality. This CD is one of those disc that you can pop in and just flow with his vibe. From beginning to end, whether you understand the words, there is something there that talks to your heart. ... there is even a remake of a CURE song. If you love cure and jeff buckley go for it.

Music : yes, Voice : no.......2002-03-02

There is something interesting with the music and the beat. Unfortunately, this guy isn't a singer at all. He hardly holds the note he uses as a melody. The lyrics lack inspiration. Anyway, it can be regarded as correct pop music. It should be a gain if M collaborated with singers.

Rock Music:

1. Kika Kila Meets Ki Ho'Alu
2. Lady & Bird [Import]
3. Lanca Perfume E Outras Manias: The Greatest Hits [Import]
4. Live: The Art of the Steel-String Guitar [Live]
5. Luaka Bop 10th Anniversary: Zero Accidents on the Job
6. Millennium: Os Mutantes [Import]
7. Montgolfières
8. Mouneïssa
9. Mudra
10. Music of Mr. Jobim [Import]

Rock Music

rock music

Recommended Music:

Bluejean Bop!

Janácek: Sárka

Original Instruments

Waylon & Friends: White Lightning [Import]

Nite:Life 017

Limp Bizkit X-Posed - The Interview

Kavanah

Poetry of war [Explicit Lyrics]

Mother Tongue

Maria de Alvear: Vagina

Minimum-Maximum [Import] [Live]

Michishirube: a Road Home [CD-single] [Import]

Mic Dika

Scriabin Sonata Fantasy No 2; Chopin Polonaise-Fantasy; Bach-Godowsky Andante Aria

Wizard Island