Si J'Étais Elle [Import]

Product Description
Latest, 2000 Album from One of France's Top Artists. Produced by Umberto Gatica (Celine Dion, Mariah Carey) & a Newcomer Called Khalil (Assia Producer). Contains Tracks Written by Carla Bruni (French Top Model - Wrote the New Single) & Etienne Roda Gil, David Mcneil. Guaranteed to Be an Instant Classic!

Tracks:

Si J'Etais Elle
Aussi Vivant
J'Oublie
Se Contenter D'Ici Bas
Tu T'En Es Allee
On Serait Seuls Au Monde
Quelques Mots En Ton Nom
Silence Caresse
Je L'Aime Comme Je Respire
L'Horizon Chimerique
Desobeissante
Va T En De Moi

Album Details

Latest, 2000 Album from One of France's Top Artists. Produced by Umberto Gatica (Celine Dion, Mariah Carey) & a Newcomer Called Khalil (Assia Producer). Contains Tracks Written by Carla Bruni (French Top Model - Wrote the New Single) & Etienne Roda Gil, David Mcneil. Guaranteed to Be an Instant Classic!

Customer Reviews:

Pour l'amour de France (for the love of France)!!!.......2001-07-13

I bought a single version of this album while I was in Tours, France just recently! "Si j'etais elle" is by far one of the most romantic songs I've ever heard--in any language. I highly recommend this album, as well as learning the French language! You can learn so much from learning a foreign language. I also recommend that everyone spend some time in France (I was there for 6 weeks). In any case, this is a wonderful album by a very talented chateur (male singer)! A bien tot, toute le monde! :-)

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

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Deutsche Grammophon: Music | Specialty Stores | Music
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Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)

ASIN: B00005OM82
Release Date: 2002-02-12

Tracks:

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

Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
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
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Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna

Russian Album

ASIN: B000005E4D
Release Date: 1996-10-29

Tracks:

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

Tracks:

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

Tracks:

Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach

Amazon.com

Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick 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!....

Tracks:

Richard Coeur-De-Lion: O Mon Roi - Gabriel Soulacroix
Les Huguenots: O Ciel! Ou Courez-Vous - Laute-Brun & Affre
Le Pardon De Ploermel: Les Bles Son Bon A Faucher - Cesar Vezzani
La Favorite: Pour Tante Amour - Gabriel Soulacroix
La Juive: Il Va Venir - Jeanne Bourdon
Mousquetaires De La Reine: Chanson Du Capitaine Roland - Hypolite Belhomme
Le Val D'Andorre: Chanson Du Chevrier - Paul Aumonier
Le Chalet: Vallons De L'Helvetie - Edouard Cotreiul
Si J'etais Roi: Chanson A Boire - Gabriel Soulacroix
Le Caid: Couplets Du Tambour-Major - Edouard Cotreiul
Hamlet: Priere Du Roi - Paul Aumonier
Don Carlos: Elle Ne M'aime Pas - Paul Aumonier
Faust: Elles Se Cachaient - Jeanne Bourdon
Sigurd: Des Presents De Gunther... Avec Ces Fleurs - Laute-Brun & Affre
Samson Et Dalila: Printemps Qui Commence - Alice Raveau
Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix - Alice Raveau
Henri VIII: Qui Donc Commande - Dinh Gilly
Carmen: Couplets Du Toreador - Gabriel Soulacroix
Werther: Quelle Priere - Dinh Gilly
La Navarraise: O Bien-aimee - Cesar Vezzani
Griselidis: Loin De Sa Femme - Hipolyte Belhomme
Fortunio: Si Vous Croyez - Fernand Francell

Miguel Villabella - Airs français, volume 1

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Miguel Villabella - Airs français, volume 1
Francois-Adrien Boieldieu , Jean-Baptiste Lully , Christoph Willibald Gluck , Andre-Ernest-Modeste Gretry , Adolphe Adam , Francois Bazin , Aime Maillart , Georges Bizet , Ferdinand Herold , Miguel Villabella , Isabelle Izarie-Gallyot , Paul Lanteri , and Germaine Feraldy
Manufacturer: L.Y.S.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | 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
ASIN: B00000FDM0
Release Date: 1997-08-05

Léopold Simoneau and Pierrette Alarie: Opera Recitals and Lieder

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Léopold Simoneau and Pierrette Alarie: Opera Recitals and Lieder

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

General | Soundtracks | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B0002ANQWC
Release Date: 2004-09-14

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Massenet: Esclarmonde
Jules Massenet , Patrick Fournillier , Denia Mazzola Gavazzeni , José Sempere , Christian Tréguier , Hélène Perraguin , Jean-Philippe Courtis , Guy Gabelle , Franz Liszt Symphony Orchestra , and Massenet Festival Choir
Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000001SS8
Release Date: 1995-03-21

Tracks:

Esclarmonde: 'Dignitaires! . . . Guerriers!'
Esclarmonde: 'O divine Esclarmonde!'
Esclarmonde: 'Roland! Roland! Comme ce nom me trouble'
Esclarmonde: 'O ma soeur, ma tendre souveraine'
Esclarmonde: 'Ah! trop malheureuse Esclarmonde!'
Esclarmonde: 'Salut, imperatrice auguste et veneree'
Esclarmonde: 'C'est en fait! Je ne resiste plus!'
Esclarmonde: 'Esprits de l'air! Esprits de l'onde!'
Esclarmonde: 'Roland! Roland! Roland! - Dans la foret des Ardennes - Sonne, o cor - Adieu, Parseis!'
Esclarmonde: Danse des Esprits
Esclarmonde: 'Ou suis-je! Dans ce sejour inconnu'
Esclarmonde: 'Sois benie, o magie! - Nuit veneree, o Nuit'
Esclarmonde: 'Quelle forme vers moi se penchait tout a l'heure'
Esclarmonde: 'Si tu m'acceptes pour epouse - Voici le divin moment - Hymen! Hymenee!'
Esclarmonde: Entr'acte
Esclarmonde: 'Helas! Ma bien-aimee! - Chere epouse, o chere maitresse'
Esclarmonde: 'Ami, songe au serment - Le chef des Sarrasins - Chaque nuit, chre amant'
Esclarmonde: 'Ecoute encore! - Vierges au coeur innocent'
Esclarmonde: 'O glaive, a ton aspect je m'incline! - Garde-toi d'oublier ton serment!'

Tracks:

Esclarmonde: 'O blois, miserable cite! - O mon peuple'
Esclarmonde: 'Kyrie eleison - Mettez en Dieu votre esperance'
Esclarmonde: 'ENtendez-vous? Tout espoir est perdu! - Roi Cleomer, je viens connaitre la reponse'
Esclarmonde: 'Oui, c'est moi! Reprends espoir, o noble roi - Jeunes guerriers, prenez vos armes!'
Esclarmonde: 'Mais tandis que Roland va combattre - Dieu de misericorde!'
Esclarmonde: 'Victoire! Victoire!'
Esclarmonde: 'Noble heros! - Son epoux? Que repondre! - Que dit-il? Par quel mystere?'
Esclarmonde: 'Pour tout autre que toi, Roland'
Esclarmonde: 'Gloire! chantons notre victoire! - Ah! loin de cette foule et de son allegresse'
Esclarmonde: Entr'acte
Esclarmonde: 'Gloire, chantons notre victoire!'
Esclarmonde: 'Le peuple delivre - La nuit bientot sera venue'
Esclarmonde: 'Mon files! Je te benis! - Quoi! Vous ici, mon Pere'
Esclarmonde: 'Je ne m'appartiens plus'
Esclarmonde: 'A genoux! Je ne saurais t'absoudre!'
Esclarmonde: 'Ah! Roland! - Ah! c'est elle!'
Esclarmonde: 'Au nom du Pere, au nom du Fils - Roland! Tu m'as trahie!'
Esclarmonde: 'Regarde-les ces yeux'
Esclarmonde: 'Non! Tu ne seras pas a mes transports ravie1 - Arriere! Arriere! Saisissez-la!'

Tracks:

Esclarmonde: Danse des Nymphes et Sylvains
Esclarmonde: 'Entendez tous ce que ma voix proclame'
Esclarmonde: 'Oui, le delai marque s'avance'
Esclarmonde: 'C'est en vous que j'espere'
Esclarmonde: 'Le temps vont s'accomplir - Sort mysterieux auqel j'obeis - Que vois-je? Eneas! Parseis!
Esclarmonde: 'Elle a voulu choisir elle-meme un epoux! - Grace pour elle! Pitie! - Esprits de l'air! Esprits de l'onde'
Esclarmonde: 'D'une longue torpeur je sens que je meveille - En retrouvant la vie et la pensee'
Esclarmonde: 'Ou suis-je maintenant? - Obeis! Esclarmonde! C'est l'inflexible loi!'
Esclarmonde: 'Donc pour sauver la vie a celui que j'adore'
Esclarmonde: 'J'accomplirai le sacrifice! - C'est elle! Ma bien-aimee!'
Esclarmonde: 'Jadis, j'etais digne de toi - Ne plus te voir!'
Esclarmonde: 'Ah! Malheureuse! Au trepas, Roland par moi livre - Reponds! Reponds! Reponds! - Disparue! Maudite!'
Esclarmonde: 'Dignitaires! Guerriers! - O divine Esclarmonde! - Aupres d'elle amenez le vainqueur'
Esclarmonde: 'Qu'importe que je me nomme! - O joie! Il refuse! - O folie! Il refuse!'
Esclarmonde: 'Esclarmonde! O ciel! C'est toi que j'adorais! - O divine Esclarmonde! O valeureux heros!'

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Operetta Masters

Manufacturer: Forlane
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Modern & 20th Century | 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: B0000038E0
Release Date: 2001-04-17

Tracks:

Duo du 2e Acte - A. Messager/S.Guitry
J'ai deux amants - A. Messager
Ne t'aurais-je qu'une fois - F. Lehar/ M. Eddy/J. Marletti
Deux yeux tres doux - F. Lehar/ M. Eddy/J. Marletti
Ce n'est pas la peine... - Reynaldo Hahn
Tendre fleur du riant printemps - Louis Ganne
Romance du Postillon - Ad. Adam/Leuven et Brunswick
Ronde du Postilon 1e acte - E. Coastes/L. Henneve
Melodie - E. Coastes/L. Henneve
Dans le sommeil - Ad. Adam/Ennery et Bresil
Ces envoyes du Paradis - Ed. Audran/ Duru et Chivot
La lecon de chant Duo de l'idylle Helas, elle a raison. Pas de femmes - Ch. Lecocq/Meligac et Halevy
Gavotte, je t'aime Il a l'opreille basse Que la trompette sonne! - Ch. Lecocq
Pour faire un brave mousquetaire - Varney/Ferrier et Frehel
J'ai fait trois fois le tour du monde - R. Planquette/ Clairville et Gabet
Legende de la Mere Angot Marchande de maree - Ch. Lecocq/Clairvill et Siraudin
Je t'ai donne mon coeur - F. Lehar/Mauprey et Marietti
Depuis le jour - G. CHARPENTIER