Chanter [Import]

Product Description
Double CD Anthology of Songs Recorded by Enrico Macias for the French Recording Label Pathe/Marconi Between 1962 and 1968.

Chanter,Enrico Macias,EMI Int'l,European Folk,France,French Pop,Int'l & World Music,Pop,World Music

Average customer rating: CROSSOVER DOES NOT WORK Nice album Caballe and other great voices A ROSE IN DECEMBER by Gino Vannelli Montserrat does it again!

Friends for Life Manufacturer: Bmg Int'l ProductGroup: Music Binding: Audio CD Vangelis | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Caballé, Montserrat | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: Doky Brothers, Vol. 2 These Are the Days A Pauper in Paradise The Gist of the Gemini ASIN: B000006TBT Release Date: 1997-05-02

Tracks:

1. Bohemian Rhapsody
2. March With Me
3. Visions of Glory
4. Ci Vorebbe Il Mare
5. Chanter Pour Ceux Qui Sont Loin de Chez Eux
6. One Life, One Soul
7. Rose in December
8. Sailing
9. Mi Amiga Rigoberta
10. Had to Be
11. Friends Again
12. Out of the Blue
13. Love Is the Key
14. Like a Dream
15. Put the Weight on My Shoulders
16. Barcelona

Album Details

1997 Recording from Montserrat Caballe featuring 16 Duets with International Stars Such as Johnny Hallyday and Khadja Nin from France, Carlos Cano from Spain, Marco Masini from Italy, Gotthard from Switzerland, RenÒ Froger from Holland and Others.

Customer Reviews:

CROSSOVER DOES NOT WORK.......2005-03-07

Some interesting tracks but this is a Caballe album and should be reviewed as such. Fans of other artists should look at their artists' own releases and not this one. Caballe is a great operatic soprano but the crossover does not work for me. The classical operatic training does not do justice to the songs which require an altogether different voice. Finally, the mixing is very poor. Clearly the tracks are recorded at different times, studios and with different equipment. This makes it difficult to balance the songs from an audio quality point of view.

Nice album.......2003-10-07

Nice album overall, Great interpretation of Bohemian Rhapsody by Bruce Dickinson(Iron Maiden's singer), making it a memorable version.

Caballe and other great voices.......2003-03-19

Interesting mix of talent but over all Caballe and Gino Vannelli shine. They are both superb vocalists. Also love the version of Sailing - great song. This is a great investment, especially if you are a Gino Vannelli fan.

A ROSE IN DECEMBER by Gino Vannelli.......2003-02-07

Every Gino Vannelli fan on this planet have to buy this cd FRIENDS FOR LIFE with these 2 masterpieces by Gino Vannelli :
A ROSE IN DECEMBER and
PUT THE WEIGHT ON YOUR SHOULDERS, especially A ROSE IN DECEMBER touched us very deep and makes free all kinds of emotions.....
First tears, real tears than thoughts, deep thoughts !! One of the most beautiful and emotional songs ever created and composed a real masterpiece created by the Master of Music : GINO VANNELLI.Gino Vannelli's voice is superb !!!

This cd is various and for everyone something to like and to enjoy...... so a real MUST for music-lovers around this world.
Go for it !!! Go for the amazing mix of pop-stars and an opera singer !!! KEEP ON ENJOYING GINO VANNELLI'S VOICE AND MUSIC FOREVER.............. One of life's greatest joys !!! Barend and Trees in Holland who are even not ashamed for writing this review.

Montserrat does it again!.......2003-02-01

I haven't heard the whole cd. But I believe Montserrat to be one of the greatest sopranos ever. She certainly has great vocal beauty, power, and class. And she has probably the most unique voice in all of opera. Nearly every recording that has her voice on it is great.

Bruce Dickinson does no justice to bohemian rhapsody in the duet . Bruce Dickinson is clearly one of the worst vocalists ever to curse the planet. I do like the band iron maiden but Bruce Dickinson just isn't even close to the greatness of Freddy Mercury.

Average customer rating:

Chanter Enrico Macias Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD France | Continental Europe | Europe | International | Styles | Music Italy | Continental Europe | Europe | International | Styles | Music General | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music French Pop | Euro Pop | Pop | Styles | Music International | Imports | Stores | Music Similar Items: Concerts Musicorama Plus Belles Chansons L' Oriental Des Musique a Musique - Best of Enrico Macias ASIN: B00080JD5U Release Date: 2005-05-04

Tracks:

1. CHANTER
2. ENFANTS DE TOUS PAYS
3. LES GENS DU NORD
4. OH GUITARE GUITARE
5. MON AMI MON FRERE
6. PUISQUE L'AMOUR COMMANDE
7. SOLENZARA
8. J'APPELLE LE SOLEIL
9. BEYROUTH
10. VOUS LES FEMMES
11. PARIS TU M'AS PRIS DANS TES BRAS
12. LES MILLIONNAIRES DU DIMANCHE
13. QUAND ON A UN FRERE
14. L'ILE DU RHONE
15. NON JE N'AI PAS OUBLIE
16. ADIEU MON PAYS
17. LES FILLES DE MON PAYS
18. CONSTANTINE
19. L'ORIENTAL ON M'APPELLE L'ORIENTAL
20. EL POROMPOMPERO

Tracks:

1. MA PATRIE (LIVE 1964)
2. L'AMOUR C'EST POUR RIEN (LIVE 1964)
3. NE DOUTE PLUS DE MOI (LIVE 1964)
4. LA FEMME DE MON AMI (LIVE 1964)
5. IL RESTE AUJOURD'HUI (LIVE 1965)
6. SANS VOIR LE JOUR (LIVE 1965)
7. S'IL FALLAIT TOUT DONNER (LIVE 1965)
8. L'AMI FIDELE (LIVE 1965)
9. NOTRE PLACE AU SOLEIL (LIVE 1965)
10. EST IL UN ENNEMI (LIVE 1965) - Enrico Macias - Utah Symphony Orchestra
11. ENFANTS DE TOUT PAYS (LIVE 1965)
12. LES FILLES DE MON PAYS (LIVE 1965)
13. L'AMOUR C'EST POUR RIEN (LIVE AU JAPON 1969)
14. PARIS TU M'AS PRIS DANS TES BRAS (LIVE AU JAPON 1969)
15. MON COEUR D'ATTACHE (IL PORTO DEL MIO CUORE)
16. ADIEU MON PAYS (ADIOS MI PAIS)
17. ENFANTS DE TOUS PAYS (CHILDREN OF EVERY RACE)
18. JE LE VOIS SUR TON VISAGE

Album Details

Double CD Anthology of Songs Recorded by Enrico Macias for the French Recording Label Pathe/Marconi Between 1962 and 1968.

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: Delightful Delightful! Too ambitious!

On the Banks of the Seine-Music of the Trouovères Manufacturer: Chandos ProductGroup: Music Binding: Audio CD Ballads | Forms & Genres | Classical | Styles | Music Rondos | Forms & Genres | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Sacred & Religious | Early Music | Historical Periods | Classical | Styles | Music | Requiems Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Chansons | Vocal Non-Opera | Opera & Vocal | Styles | Music Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Virelais | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: The Dufay Collective:Miri It Is Johnny, Cock Thy Beaver: Popular Music-Making in 17th-Century England A Dance in the Garden of Mirth: Medieval Instrumental Music - The Dufay Collective Cancionero -- Music for the Spanish Court 1470-1520 Medieval Dance Music ASIN: B000000B17 Release Date: 1997-06-17

Tracks:

1. Dance: J'aloie l'autrier
2. Ses tres dou regars
3. C'est la fins
4. Prendi garde
5. Pucelete - Je languis - Domino
6. On parole - A Paris - Fr nouvele
7. Dance: Les un pins
8. Volez vous que je vous chant
9. La septieme estampie Real
10. A Dieu commant amouretes
11. A jointes mains vous proi
12. Hieus, quant verrai
13. Tant con je vivrai
14. Fines amouretes
15. La dours del tens novel
16. Dance: La dours
17. En ung vergier
18. Dame or sui tra
19. Chanter voel par grant amour
20. Quant voi la flor nouvele
21. L'autre jour par un matin
22. Amor potest
23. Dieus soit en cheste maison
24. Je chevauchoie l'autrier
25. Dance: Je chevauchoie l'autrier

Customer Reviews:

Delightful.......2006-01-27

I've only just listened to a few samples of this album, and I, too, strongly disagree with the poor review below. Vivien Ellis has a wonderfully sweet soprano. As for the men, well, classically trained singers hardly existed in the 12th and 13th Centuries (unless you sang in a monastery). That's what makes this album sound so authentic. Everyone sounds so REAL. 4 stars from me - good album, but not really outstanding. Still, I could fall in love with Vivien Ellis' voice pretty fast. Nice work!

Delightful!.......2004-03-19

I have to disagree with the poor review below. This is a WONDERFUL CD of medieval music, and I have many to compare it to! The instrumentals are light, fun and cleverly arranged. And I love the vocals. They're perfect for this style of music - clean, clear, and sometimes folksy. Vivien Ellis's soprano is lovely. The nasal intonation of the men on a few of the numbers (and it is not extreme--I've heard it done much stronger) reflects a choice some early musicians make based on the remnants of this music that still exist within the modern folk music traditions that descend from it. Give this gem a chance and you won't be disappointed. It's a joyful and refreshing trip into the twelfth and thirteenth centuries, with elements both gently alien and pleasantly familiar. I play it over and over again and have not yet tired of it. Happy listening!

Too ambitious!.......2001-11-22

The only reason I give this album a rating as high as two stars is because I love the music, because the instrumental pieces are great, and because it's always a pleasure to hear the delightful voice of Vivien Ellis.

But who told the guys, who are skilled instrumentalists, that they could sing??? The tenor sings flat, the baritone is totally drowned out by the tenor, the bass seems to be just going through the motions, and they all seem to sing through their noses. Skilled instrumental musicians they may well be, but these guys obviously don't have much training or experience in any kind of singing. The complex rhythms and precise tuning necessary for this kind of music seem totally beyond their current capabilities.

If this album had been done by anyone but the Dufay Collective, the Chandos A&R representative would have promptly sent the demo back to them with a form rejection letter. The guys may have talent as vocalists, but before they try to promote themselves as singers I would recommend that they get some voice training, do a lot of practicing and get some performing experience. Only then should they try to cut another album where they sing. Boys, for now at least, let's stick to the instruments!

Average customer rating:

Chanter la Vie Nana Mouskouri Manufacturer: Universal International ProductGroup: Music Binding: Audio CD General | International | Styles | Music General | Jazz | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Classic | Vocal Pop | Pop | Styles | Music French Pop | Euro Pop | Pop | Styles | Music Classic Vocalists | Broadway & Vocalists | Box Sets | Stores | Music Vocal Pop & Oldies | Pop | Box Sets | Stores | Music International | Imports | Stores | Music ASIN: B00004S6OZ Release Date: 2006-11-01

Tracks:

1. L'Enfant Au Tambour
2. Quatre Soleils
3. Celui Que J'aime
4. Connais-tu?
5. Le Coeur Trop Tendre
6. La Derniere Reose De L'ete
7. Guantanamera
8. Quand On S'aime
9. Au Coeur De Septembre
10. C'est Bon La Vie
11. C'etait Bien La Derniere Chose
12. Adieu Angelina
13. Puisque Tu M'aimes
14. Roses Blanches De Corfou
15. Tous Les Arbres Sont En Fleurs
16. Amour Moins Zero
17. Dans Le Soleil Et Dans Le Vent
18. Il N'est Jamais Trop Tard Pour Vivre
19. Comme Un Soleil
20. En Partant
21. Soleil Soleil
22. Prisonnier Dans L'ile
23. Le Temps Qu'il Nous Reste

Tracks:

1. Milisse Mou
2. Voici Le Mois De May
3. Pauvre Rutebeuf
4. Aux Marches Du Palais
5. La Vie L'amour La Mort
6. Soledad
7. Il Est Passe
8. Que Je Sois Un Ange
9. L'Histoire De Nous
10. Pour Mieux T'aimer
11. Hartino To Fengaraki
12. Qui Sait Ou Va Le Temps
13. Qu'est Ce Que Je T'aime
14. La Petit Rose
15. Mes Belles Amourettes
16. Le Belle Est Au Jardin D'amour
17. C'etait Hier
18. Vivre Avec Toi
19. Oublie Que J'ai De La Peine
20. Je N'ai Pas Peur De Mourir Avec Toi
21. La Ballade Du Chien Loup

Tracks:

1. Je Chante Avec Toi Liberte
2. Chanter La Vie
3. Amazing Grace
4. Mamaieba
5. Je Reviens Chez Nous
6. Repondez Moi
7. Tu M'oublies
8. Prendre Un Enfant
9. Romance De Maitre Pathelin
10. Una Furtiva Lagrima
11. Ave Maria
12. Oh Happy Day
13. Seri Sera
14. Barbara Furtuna
15. Tu N'es Plus La Cet Automne
16. Plaisir D'amour
17. Le Vent De L'espoir (Hymne Europeen)

Average customer rating:

Time of the Dawn: Medieval & Renaissance Music Manufacturer: Christophorus ProductGroup: Music Binding: Audio CD All Works by Dufay | Dufay, Guillaume | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Hildegard of Bingen | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Lassus | Lassus, Orlando di(Lasso) | ( L ) | Featured Composers, A-Z | Classical | Styles | Music Walther v. der Vogelweide | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Rondos | Forms & Genres | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Sacred & Religious | Early Music | Historical Periods | Classical | Styles | Music | Requiems Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems General | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music Lieder | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Codex Faenza: Instrumental Music of the Early 15th Century ASIN: B00003A9N8 Release Date: 1999-11-30

Average customer rating: Still the best collection of Berlioz's lovely songs

Berlioz: Melodies Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music ASIN: B000001GGX Release Date: 1994-10-11

Tracks:

1. Nocturne a deux voix (H. 31, 1818-30) 'Je veux dans l'inconstance'
2. Le maure jaloux: Romance (H. 9B, 1819-21/1822): Moderato ma non troppo: 'Je vais revoir'
3. Amitie, reprends ton empire: Romance et invocation (H. 10B, 1819-21/1823): Andante sostenuto: 'Am...
4. Canon libre a la quinte (H. 14, 1822); Lento sostenuto: 'La nuit de son voile epais'
5. Pleure, pauvre colette: Romance a deux voix egales (H. 11, 1822): Andantino: 'Aupres de moi Colette'
6. Le Montagnard Exile: Chant Elegiaque (H. 15, 1823): Andante Poco Lento: 'Loin De La sauvage Campagne
7. Le Roi De Thule: Chanson Gothique (H. 33A, 1828: Huit Scenes De Faust Op.1 N.6): Poco Andante: 'A...
8. Serenade De Mephistopheles (H.33, 1828: Huit Scenes De Faust Op.1 N.8): Allegro: 'Devant La Maiso...
9. Helene: Ballade A Deux Voix (H.40A, 1829; Irlande Op.2 N.2): Allegretto: 'Qui Se Souvient D'Helene'
10. Chant Guerrier (H.41, 1829: Irlande Op.2 N.3): Allegro Non Troppo: N'oublions Pas Ces Champs'
11. La Belle Voyageuse: Ballade (H.42, 1829: Irlande Op.2 N.4): Allegretto Non Troppo: 'Elle S'en Va...
12. Chanson A Boire (H.43, 1829: Irlande Op.2 N.5): Allegro Frenetico: 'Amis, La Coupe Ecume''
13. L'Origine De La Harpe; Ballade (H.45, 1829: Irlande Op.2 N.7); Andante: 'Cette Haroe Cherie'
14. Adieu Bessy: Romance Anglaise Et Francaise (H.46B, 1829/1849: Irlande Op.2 N.8): Andante Non Troppo
15. Elegie En Prose (H.47, 1829: Irlande Op.2 N.9): Adagio: 'Quand Celui Qui Adore'

Tracks:

1. La Captive: Orientale, Op.12 (H. 60C, 1832): Andantino: 'Si Je N'etais Captive'
2. Sara La Baigneuse: Ballade, Op.11 (H.69C, 1834/1849, Reduction Pour Piano D'Auguste Morel): Alleg...
3. Je Crois En Vous: Romance (H.70, 1834): Andantino Non Troppo Lento: 'Quand Mon Ame Ravie'
4. Chansonette De Mr. Leon De Wailly (H.73, 1835): Allegro Mosso (Presque Le Mouvement De La Valse)...
5. Le Matin: Romance (H.125, 1850: Fleurs Des Landes Op.13 N.1); Andantino Quasi Allegretto: 'Pour Chan
6. Le Trebuchet: Scherzo A Deux Voix (H.113, 1846: Fleurs Des Landes Op.13 N.3): Allegretto Leggiero...
7. Le Jeune Patre Breton (H.65C, 1833/1834: Fleurs Des Landes Op.13 N.4): Allegretto Simplice Un Po...
8. Le Chant Des Bretons (H.71B, 1835/1849: Fleurs Des Landes Op.13 N.5): Allegro Fieramente: 'Oui, N...
9. La Mort D'Ophelie: Ballade (H.92A, 1842): Andantino Con Moto Quasi Allegretto: 'Aupres D'un Torre...
10. Zaide: Bolero (H.107B, 1845: Feuillets D'album, Op.19 N.1): Allegretto: 'Ma Ville, Ma Belle Ville'
11. Les Champs: Romance (H.67B, 1834/1850: Feuillets D'album, Op.19 N.2): Allegretto: 'Rose, Partons...
12. Priere Du Matin (H.112, 1846): Andantino: 'O Pere Qu'adore Mon Pere'
13. La Belle Isabeau: Conte Pendant L'orage (H.94, 1843): Allegretto Moderato: 'Dans La Montagne Noire'
14. Le Chasseur Danois (H.104A, 1844):Allegro Con Fuoco: 'Entendez-Vous Dans La Bruyere'

Customer Reviews:

Still the best collection of Berlioz's lovely songs.......2006-01-31

Berlioz didn't challenge his artistry in these 29 songs, which are mostly simple but very appealing melodies with basic piano accompaniments (Berlioz couldn't play the piano and didn't write difficult music for it). Taken a handful at a time, this 2-hour collection from DG, which was acclaimed when it first appeared in 1994, provides much sweet listening.

The four soloists are variable: von Otter is magnificent (her contribution was recorded separately in Stockholm, the other singers in three spearate locations!), and Thomas Allen rises to a high level of artistry even in the simplest songs. Tenor John Aler is uncomfortable in French, I would guess, and tends to mumble. Soprano Frnacoise Pollet, being a native speaker, has perfect diction but a wobbly voice that tends to spread out in loud passages. The biggest letdown is the piano accompanist, Cord Garben, who is routine and unimaginative. His lack of spark affects every song, unfortunately, although the overall level of performance is always good enough to provide enjoyment of these rarely recorded songs.

For someone who doesn't want to explore this deeply into Berlioz's vocal writing, von Otter's five solo songs have been excerpted on a marvelous recital album that features an incomparable Les Nuits d'Ete. In all, I found this 2-CD set highly enjoyable, although there are no hidden masterpieces to be uncovered.

Average customer rating:

Cage: The City Wears a Slouch Hat/Fads & Fancies in the Academy/A Chant with Claps Manufacturer: Mode ProductGroup: Music Binding: Audio CD Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music ASIN: B000000NZ8 Release Date: 1997-01-21

Tracks:

1. The City Wears A Slouch Hat: Intro - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
2. The City Wears A Slouch Hat: Opening Stroll (Rehearsal #1) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
3. The City Wears A Slouch Hat: Holdup (Rehearsal #4) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
4. The City Wears A Slouch Hat: Nightclub (Rehearsal #7) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
5. The City Wears A Slouch Hat: Passerby (Rehearsal #8) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
6. The City Wears A Slouch Hat: Along The River (Rehearsal #10) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
7. The City Wears A Slouch Hat: Phone Call (Rehearsal #11) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
8. The City Wears A Slouch Hat: Sreetfight (Rehearsal #12) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
9. The City Wears A Slouch Hat: Up In The Sky (Rehearsal #14) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
10. The City Wears A Slouch Hat: Woman In The Rain (Rehearsal #15) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
11. The City Wears A Slouch Hat: Kidnapping (Rehearsal #16) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
12. The City Wears A Slouch Hat: Mirthogram (Rehearsal #17) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
13. The City Wears A Slouch Hat: Street Poetry (Rehearsal #18) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
14. The City Wears A Slouch Hat: Off In The Ocean (Rehearsal #20) - Judith Gordon/Maya Gunji/John Kennedy/Eric Kivnick/CharlesWood/David Avidor/Paul Schmidt...
15. Fads And Fancies In The Academy: I. Axioms: The Pupil Is Easy To Learn - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
16. Fads And Fancies In The Academy: I. Axioms: The Pupil Is Constitutionally Lazy - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
17. Fads And Fancies In The Academy: I. Axioms: We Deal With The Total Child - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
18. Fads And Fancies In The Academy: II. A Short Historical Sketch: Reactionaries - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
19. Fads And Fancies In The Academy: II. A Short Historical Sketch: Revolutionaries - Pitched Battle - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
20. Fads And Fancies In The Academy: III. Vistas Of The Future: Pessimist - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
21. Fads And Fancies In The Academy: III. Vistas Of The Future: Optimist - Judith Gordon/John Kennedy/Charles Wood/Maya Gunji/Eric Kivnick/Brian Brandt
22. A Chant With Claps - John Kennedy/Charles Wood

Amazon.com

The appropriately titled Lost Works rescues three Cage works from obscurity. The City Wears a Slouch Hat dates from 1942 but has its premiere commercial release here some 54 years after completion and four years after Cage's death. A radio play broadcast in Chicago by Columbia Broadcast System, its text was written by writer/poet Kenneth Patchen (1911-1972). As the aptly described sound orchestra drifts between recognizably urban sounds that set mood and place for the characters, it also liberally proffers percussion passages that shift from background to foreground--the kind of non- programmatic accompaniment that more traditional radio plays shun. The original broadcast recording, which surfaced on a bootleg LP in Germany, was shelved and the score for Slouch Hat was thought to be lost until 1990, when the finished manuscript was found among a collection of radio play scores donated by CBS to the New York Public Library of the Performing Arts. Essential Music has reinstated and expanded musical passages as Cage's score intended. Fads and Fancies in the Academy, for piano and small percussion orchestra, was written for a Maria van Tuyl dance at Mills College (Oakland, California) in 1940, but was unknown until Cage presented it to his publisher shortly before his death. Those who think Cage's music is too far out will be surprised by these melodic pieces, rapturous and delightful--and tuneful! A Chant with Claps, the undated final work in this terrific disc, is a brief, whimsical piece for Sidney Cowell on the occasion of her and Henry's anniversary. --Tom Welsh

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Pleasure Songs for Flute Manufacturer: Capitol ProductGroup: Music Binding: Audio CD Gigue | Baroque Dance Suites | Ballets & Dances | Classical | Styles | Music Pavanes | Ballets & Dances | Classical | Styles | Music Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Falla | Falla, Manuel de | ( F ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Grainger | Grainger, Percy Aldridge | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Poulenc | Poulenc, Francis | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Ravel, Maurice | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Satie | Satie, Erik | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Sacred & Religious | Early Music | Historical Periods | Classical | Styles | Music | Requiems Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Sonatas | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Folk | Styles | Music General | Opera & Vocal | Styles | Music Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music ASIN: B00000DOHR Release Date: 1990-10-25

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Charpentier - Divertissements, Airs et Concerts / Daneman · Petibon · Eikenes · Agnew · Sinclair · Piolino · Le Monnier · A. Ewing · Les Arts Florissants · Christie Marc-Antoine Charpentier , William Christie , Les Arts Florissants , Paul Agnew , Andrew Sinclair , Alan Ewing , and Sophie Daneman Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Charpentier | Charpentier, Marc-Antoine | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Christie, William | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music ASIN: B00000I8SY Release Date: 1999-03-16

Tracks:

1. La Pierre Philosophale H. 501: Choeur des Quatre Elements
2. La Pierre Philosophale H. 501: Menuet pour la petit gnomide
3. La Pierre Philosophale H. 501: Chanson du Sylphe
4. La Pierre Philosophale H. 501: Duo pour le feu et l'eau
5. La Pierre Philosophale H. 501: Choeur des Quatre Elements
6. Concert pour quatre parties de violes H. 545: Prelude
7. Air: 'Tristes deserts, sombre retraite' H. 469
8. Air: 'Rentrez, trop indiscrets soupirs' H. 464
9. Concert pour quatre parties de violes H. 545: Allemande
10. Air: 'Quoi! Je ne verrai plus' H. 461
11. Air: 'Ah! qu'ils sont courts les beaux jours' H. 442
12. Concert pour quatre parties de violes H. 545: Sarabande en rondeau
13. Air: 'Charmantes fleurs, naissez' H. 449b
14. Air: 'Quoi! rein ne peut vous arreter?' H. 462
15. Concert pour quatre parties de violes H. 545: Gigue anglaise
16. Air: 'En vain rivaux assidus' 452
17. Air: 'Ah! qu'on est malheureux d'avoir eu des desirs' H. 443
18. Air: 'Ah! laissez-moi rever' H. 441
19. Concert pour quatre parties de violes H. 545: Gigue francaise
20. Air: 'Non, non, je ne l'aime plus' H. 455
21. Sans frayeur dans ce bois - Chaconne H. 467
22. Concert pour quatre parties de violes H. 545: Passecaille
23. Air: 'Aupres du feu l'on fait l'amour' H. 446
24. Air: 'Ayant bu du vin claire' H. 447
25. Air: 'Fenchon, la gentille Fenchon' H. 454
26. Il faut rire et chanter: Dispute de bergers H. 484: Ouverture
27. Il faut rire et chanter: Dispute de bergers H. 484: Brouillards, glacons, neige, frimas
28. Il faut rire et chanter: Dispute de bergers H. 484: Laissez nos fleurs toujours paraitre
29. Il faut rire et chanter: Dispute de bergers H. 484: Menuet et choeur gai
30. Il faut rire et chanter: Dispute de bergers H. 484: Le berger chagrin
31. Il faut rire et chanter: Dispute de bergers H. 484: Infortune berger qu'un tel chagrin possede
32. Il faut rire et chanter: Dispute de bergers H. 484: Menuet
33. Il faut rire et chanter: Dispute de bergers H. 484: Je brave sans souci la fortune obstinee
34. Il faut rire et chanter: Dispute de bergers H. 484: Pleurons plutot de presentes douleurs
35. Il faut rire et chanter: Dispute de bergers H. 484: Deplore qui voudra les miseres des autres
36. Il faut rire et chanter: Dispute de bergers H. 484: Gavotte en rondeau

World Music:

1. Collezione [Import]
2. Corrupiao [Import]
3. Disco de Ouro, Vol. 2 [Import]
4. Disolucion [Import]
5. Divine Connection
6. Do Coccix Ate O Pescoco [Import]
7. Echoes of Love
8. Essential Asian R&B [Import]
9. Eu E Eles [Import]
10. Eu Vejo [Import]

World Music

world music

World Music

All the Best Cowboys Have Chinese Eyes [Import]

The Sultan and the Phoenix

Tune Up [Live]

Genius of Modern Music, Vol. 2 [Original recording remastered]

Tokyo Disneyland Electrical Parade [Import]

Vol. 1-Masters

Tropico

Under the Milky Way [CD-single]

Tribal Songs of the American Indian

Traditional Catalan Songs

The Uncollected Artie Shaw & His Orchestra, Vol. 2: 1938

The Best of the Miles Davis Quintet, 1965-1968 [Original recording remastered]

The Mouse and the Mask

The World As Best As I Remember It, Volume 1

Tango Bitter Sweet