| 1. Au Coeur De La Nuit |
| 2. Ploum Ploum |
| 3. Pourquoi N'essaies-Tu Pas |
| 4. Seul |
| 5. Laisse Tomber |
| 6. Un Homme+Un Homme |
| 7. Les Il Et Les Ons |
| 8. Argent Trop Cher |
| 9. Ordinaire |
| 10. 2000 Nuits |
| 11. Fleur De Ma Ville |
| 12. Laisse |
| 13. Silence |
Editorial Reviews
Product Description
Face Front. 2004.
In the notes to the CD, Brahem is quotes as saying that after recording his THIMAR album, the resulting physical and artistic exhaustion caused him to set aside his oud for a while - something he said he had never before done. Turning his musical ideas and expression to his piano, Brahem created the pieces recorded here. When he took these ideas into the studio (and taking his oud along with him), along with colleagues François Coutourier (piano) and Jean-Louis Matinier (accordion), his ideas were brought beautifully to fruition. The result is one of the most beautiful recordings I have ever heard.
The pieces having been written on the piano, that instrument takes the lead - but the oud and the accordion have a lot to say as well, and their voices blend effortlessly with that of the keyboard. Brahem is a master not only at composition and performing, but, in his arrangements, and in the very choosing of his accompanying musicians, shows a brilliance that is breathtaking. Through the various groupings that he has assembled on his recordings, he endows his music with a strength and scope that is stunning - it takes on a life of its own, and grows far beyond whatever boundaries smaller minds might employ to contain it by definition.
This is 'world music' in the deepest, spiritual sense of the phrase - political frontiers are vanquished and erased, while cultures are honored, respected and mingled.
Brahem's last album, ASTRAKAN CAFÉ, alluded to this meeting and convergence of styles - with each successive release, Brahem furthers his cause (and that of the open-minded, eager-to-explore listener). Each and every track included here is an absolute gem. Approach this album with an open mind and ear, and marvel at the journey on which you are to be led.
This is an absolutely essential recording.
While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.
I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.
The songs are almost entirely of a very high standard, and show how well Debussy knew the voice. (In my opinion, he particularly knew the virtues of the typical light high French soprano voice, and I can certainly attest that the majority of his songs lie beautifully and very comfortably in the soprano coloratura voice.) Occasionally there's a song that isn't of that typical high standard (the peculiar but very early song "Rondel chinois" comes to mind - it's a lovely thing to sing, but it's not a song of any distinction), but most of these are perfect gems.
The singing on this set varies a little. On the plus side is the ever-beautiful Elly Ameling, who had perhaps the most limpidly beautiful light lyrical soprano voice the world has ever heard; the amazing Frederica von Stade, who sings divinely; Michele Command, whose more robust soprano voice is often stunning; the experienced baritone Gérard Souzay (I have to admit I do not like his voice myself - his timbre and approach are not to my taste - but he is certainly very experienced in this genre and his French is so beautiful to listen to)... and on the not-so-plus side (for me, anyway) is the coloratura soprano of Mady Mesplé. I know there are devoted fans of Ms Mesplé - I must admit I am not one of them. While I admire the glorious ease of her top notes, and the young and attractive sound of the voice's natural timbre, I LOATHE what is to me an unbearable fluttering vibrato that ruins her singing. It sounds extraordinarily under-supported and very uncomfortable - but I also admit that Ms Mesplé clearly has a deep feeling for these mélodies. She certainly knows how to phrase - and certainly the range of her voice is remarkable. If only that twitter could be magicked away... then I'd probably be very satisfied with her singing.
Overall, then, this set is a charming and well-chosen array of almost all of Debussy's vocal output. It is not complete, though. I would recommend supplementing this delightful 3CD set with the recording of Debussy songs by Sandrine Piau, the somewhat bland but extremely pretty recording of Debussy's early songs by Gillian Keith, and the recording of Debussy songs sung by Anne-Marie Rodde (again, so very pretty, and it is one of the few recordings to include Debussy's duet "Chanson espagnole" - which is otherwise represented quite hideously on a recording by a tenor and baritone).
There's also some amazingly beautiful singing of Debussy songs on an album by Christine Oelze (her timbre reminds me so much of Ameling's - just lovely, and what excellent French!).
I have not listened to Dawn Upshaw's recording of Debussy songs, as she is not one of my favourite singers, but given that I've enjoyed her French performances in the past, I do plan to add her recording entitled "Forgotten Songs" to my collection.
And with all of that lot, you, the Debussy collector, will have a truly wonderful collection of Debussy's songs to hand!
If you like Debussy, you will certainly like this collection. If you are a died in the wool Upshaw fan, Miss Dawn's effort may sould a bit better to you.
I think this one definitely gives you more for the money.
Gerard Souzay seems like he's just going through the motions on all of his tracks; Elly Ameling has fabulous technique as always, but there is something wanting; Mady Mesple gives a great (if not heartfelt) performance. The standout performance on this disc is of the Ariettes Oubliees, as performed by Frederica von Stade. Beautiful, and the emotion is there.
I would recommend it for any singer's library. I do, however, hesitate to give it 5 stars and recommend it to everyone because the emotion just isn't there through many of the tracks--and Debussy without emotion is like bread without yeast--flat.
I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.
Sound: Generally good 1950s mono. (Opera d'Oro issues are always iffy on matters of sound, ranging from very good to appallingly bad. They are generally much safer bets when based on studio recordings, as is the case here, than on live performances.)
Text: Standard text adopted with the first revivals of the opera, some years after Bizet's death.
Cast: Nadir - Leopold Simoneau; Zurga - Rene Bianco; Leila - Pierette Alarie; Nourabad - Xavier Depraz. Conductor: Jean Fournet.
Documentation: No libretto. Short plot summary. Track list.
This performance provided my first recording of "Les Pecheurs de perles," acquired more than forty-five years ago on Lp from some obscure European publisher. Having stumbled upon a CD version of the old warhorse, I was greatly pleased to find that it is as good as I had remembered it to be.
By 1863, the 25 year-old Bizet had already set his hand to incidental music to "L'Arlesienne," the requisite Sir Walter Scott opera, "La jolie fille de Perth" and an oriental opera, "Djamileh." He had not yet wrung the hankering for exoticism out of his system, so he embarked on a new opera to be set in pre-Columbian Mexico. With youthful folly, he began writing the music before his two hack librettists, Michel Carre and Eugene Cormon, had figured out a finish for the play. Even before the lack of a finale became a crisis, a major change had to be incorporated. It seems that the "Pearlfishers" team had been beaten in the race to put on an Aztec play in Paris. Since Carre and Cormon had probably known nothing at all about Meso-American empires, it is likely they had no qualms about shifting their story to another place they knew nothing about, Ceylon. Carré and Cormon never did come up with a logical finish, so they just set things on fire and let the doomed lovers depart into the sunset, providing a dramatic arc to "The Pearlfishers" that makes "Il trovatore" look like a textbook example of a well-made play.
I had remembered the star of the recording to be the tenor, Leopold Simoneau, and so he is. Simoneau had a voice of no great size but of surpassing sweetness and elegance. I have seen him described as a latter day Tito Schipa. To some extent he was, but Simoneau was a true vocal technician, far more skillful than that charming old con man, Schipa. Simoneau's Nadir is more focused on the beauty of the musical line than on drama. In this most lyrical of Bizet's operas, it works.
What I had not remembered about this recording was Pierette Alarie. Alarie was a formidable lieder singer who was married to Simoneau and who made many recordings with him. By operatic standards, her voice was small, but it was beautifully pure, precisely focused and amazingly agile, a sort of Francophone Roberta Peters. (For those familiar with Webber's "Phantom of the Opera," Alarie was precisely the type of singer for the role of the Phantom's young protegee.) All those years ago, I was busy being bowled over by Milanov, Tebaldi, Nilsson and Sutherland, so I foolishly discounted Alarie's smaller voice. While I still hold those ladies in highest esteem, this time, when I bought the CD, I actually listened to Alarie and I was amazed. This was particularly true of the closing number of the First Act, "O dieu Brahma." In every other performance that I have seen or heard, heavier-voiced sopranos make this prayer pleasant enough but nothing to compete with the acknowledged big numbers of the act, "Au fond du temple saint," and "Je crois entendre encore." Alarie's version is a revelation. With her lieder singer's discrimination and her phenomenal vocal agility, Alarie offers up a bel canto-like gem.
The Zurga of this set, while good, was simply not in the class of Simoneau and Alarie. René Bianco had a baritone voice that was pleasant but not at all commanding, not the best thing for portraying a character who is all assertiveness. The slight fuzziness of his vocal production kept Bianco from being an equal with the super-focused Simoneau and Alarie in the ensembles.
Nourabad is a thankless part, placed in the opera merely to keep the plot ticking. I remember nothing about any Nourabad I have seen or heard in the past. I remember nothing about Xavier Depraz beyond the obvious fact that he was not bad enough to make me remember him for that reason.
The first time I listened to these CDs, I found myself puzzled by the conducting. Jean Fournet was a big name in the French repertory in the years straddling World War II. As I had been particularly impressed by his dramatic "Samson et Dalila," the comparative looseness of dramatic tension here seemed odd. After comparing his version of "The Pearlfishers" with those of Rosenthal, Dervaux and Pretre, I think it probable that there was mutual agreement among Fournet, Simoneau and Alarie to downplay melodrama in favor of musicality, to take a miniaturist, even lieder-like approach. Of the four conductors, Fournet is the most precise and the most French. "The Pearlfishers" may take place on exotic Ceylon, but Jean Fournet's Ceylon is firmly anchored in the Seine, not many meters downstream from the Cathedral of Notre Dame.
This is an excellent "Pearlfishers." This version and the excellent 1959 live version conducted by Manuel Rosenthal (Gala GL 100.504), which emphasizes the drama of the opera, should be in any serious collection.
Five stars.
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.
Face Front. 2004.
Au Coeur De La Nuit,Telephone,EMI,French,World Music
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Le Pas Du Chat Noir
Anouar Brahem Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD  General
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ASIN: B00006EXHT Release Date: 2002-08-27 |
Tracks:
- Le Pas Du Chat Noir
- De Tout Ton Coeur
- Leila Au Pays Du Carrousel
- Pique-nique A Nagpur
- C'est Ailleurs
- Toi Qui Sait
- L'arbre Qui Voit
- Un Point Bleu
- Les Ailes Du Bourak
- Rue Du Depart
- Leila Au Pays Du Carrousel, Var.
- Deja La Nuit
Amazon.com
The Tunisian oud master Anouar Brahem has chosen to work in a trio setting this time out, accompanied by Francois Couturier on piano and Jean-Louis Matinier on accordion. Brahem states in the liner notes that these pieces were actually composed on the piano, emerging while he was taking a much-needed short break from his primary instrument. While Pas de Chat Noir ("The Black Cat's Footsteps") is a change of pace, it is a not a terribly remote detour. Brahem is still in his favorite space, exploring the power of implication, and the other players are in synch with his vision. All three participants sound muted, relating to one another in parallels rather than in a heated dialogue. The result is a spacious, romantic pastiche of Farid El-Atrache, Astor Piazzolla, Keith Jarrett, 19th- and 20th-century French impressionists (especially Eric Satie), plus shades of every strung-out, enervated, after-hours nightclub jam that ever was. --Christina RodenCustomer Reviews:
Lovely.......2007-05-20
truly unique.......2007-05-19
absolutely essential (FJB/O!-music 2006).......2006-11-26
In the notes to the CD, Brahem is quotes as saying that after recording his THIMAR album, the resulting physical and artistic exhaustion caused him to set aside his oud for a while - something he said he had never before done. Turning his musical ideas and expression to his piano, Brahem created the pieces recorded here. When he took these ideas into the studio (and taking his oud along with him), along with colleagues François Coutourier (piano) and Jean-Louis Matinier (accordion), his ideas were brought beautifully to fruition. The result is one of the most beautiful recordings I have ever heard.
The pieces having been written on the piano, that instrument takes the lead - but the oud and the accordion have a lot to say as well, and their voices blend effortlessly with that of the keyboard. Brahem is a master not only at composition and performing, but, in his arrangements, and in the very choosing of his accompanying musicians, shows a brilliance that is breathtaking. Through the various groupings that he has assembled on his recordings, he endows his music with a strength and scope that is stunning - it takes on a life of its own, and grows far beyond whatever boundaries smaller minds might employ to contain it by definition.
This is 'world music' in the deepest, spiritual sense of the phrase - political frontiers are vanquished and erased, while cultures are honored, respected and mingled.
Brahem's last album, ASTRAKAN CAFÉ, alluded to this meeting and convergence of styles - with each successive release, Brahem furthers his cause (and that of the open-minded, eager-to-explore listener). Each and every track included here is an absolute gem. Approach this album with an open mind and ear, and marvel at the journey on which you are to be led.
This is an absolutely essential recording.
Mediterranean Music.......2006-11-03
excellent music.......2006-03-23
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The Art of Joan Sutherland
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Arne
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ASIN: B000654OUQ Release Date: 2005-03-15 |
Customer Reviews:
Valuable compendium.......2007-01-24
Rareties available on CD at last!.......2006-03-29
While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.
I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.
Heavenly.......2006-01-31
WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10
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Debussy - Mélodies / Ameling · Mesplé · Command · Souzay · von Stade · Baldwin
Claude Debussy , Mady Mesplé , Gérard Souzay , Frederica von Stade , Elly Ameling , Michèle Command , and Dalton Baldwin Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B000002S32 Release Date: 1992-01-23 |
Tracks:
- Claude Debussy: Nuit d'etoiles
- Claude Debussy: Fleur de bies
- Claude Debussy: Beau soir
- Claude Debussy: Mandoline
- Claude Debussy: La Belle au Bois dormant
- Claude Debussy: Voici que le printemps
- Claude Debussy: Paysage Sentimental
- Claude Debussy: Zephyr
- Claude Debussy: Rondeau 4 Chansons de jeunesse
- Claude Debussy: I Pantomime
- Claude Debussy: II Clair de lun, 1re Version
- Claude Debussy: III Pierrot
- Claude Debussy: IV Apparition
- Claude Debussy: Rondel chinois
- Claude Debussy: Aimons-nous et dormos
- Claude Debussy: Jane
- Claude Debussy: Jane
- Claude Debussy: Romance
- Claude Debussy: Les Cloches
- Claude Debussy: Les Angelus
- Claude Debussy: Dans le jardin
- Claude Debussy: La Mer est plus belle
- Claude Debussy: Le Son du cor s'affige
- Claude Debussy: L'Echelonnement des haies Fetes galantes
- Claude Debussy: I En sourdine
- Claude Debussy: II Fantoches
- Claude Debussy: III Clair de lune
Tracks:
- Claude Debussy: I Le Balcon
- Claude Debussy: II Harmonie du soir
- Claude Debussy: III Le Jet d'eau
- Claude Debussy: IV Recueillement (Meditation)
- Claude Debussy: V La Mort des amants
- Claude Debussy: I De Reve
- Claude Debussy: II De Greve
- Claude Debussy: III De Fleurs
- Claude Debussy: IV De Soir
- Claude Debussy: I C'est l'extase
- Claude Debussy: II Il pleure dans mon coeur
- Claude Debussy: L'Ombre des arbres dans la riviere
- Claude Debussy: IV Paysages delges - Chevaux de bois
- Claude Debussy: V Aquarelle n 1 Green
- Claude Debussy: VI Aquarelle n 2 Spleen
Tracks:
- Claude Debussy: I La Flute de Pan
- Claude Debussy: II La Chevelure
- Claude Debussy: III Le Tombeau des Naiades
- Claude Debussy: I Les Ingenus
- Claude Debussy: II Le Faune
- Claude Debussy: III Colloque sentimental
- Claude Debussy: I Rondel ; 'Le Temps a laissie son manteau'
- Claude Debussy: II Rondel : 'Pour ce que plaisance est morte'
- Claude Debussy: I Aupres de cette grotte somre
- Claude Debussy: II Crois mon conseil, chere Climene
- Claude Debussy: III je tremble en voyant ton visage
- Claude Debussy: I Ballade de Villon a s'amye
- Claude Debussy: II Ballade que Vilon feit ala
- Claude Debussy: III Ballade des femmes de Paris
- Claude Debussy: I Soupir
- Claude Debussy: II Placet futile
- Claude Debussy: III Eventail
- Claude Debussy: Noel des enfants qui n'ont plus de maison
Customer Reviews:
Apart from flutter and bluster, this is divinely beautiful........2007-05-18
The songs are almost entirely of a very high standard, and show how well Debussy knew the voice. (In my opinion, he particularly knew the virtues of the typical light high French soprano voice, and I can certainly attest that the majority of his songs lie beautifully and very comfortably in the soprano coloratura voice.) Occasionally there's a song that isn't of that typical high standard (the peculiar but very early song "Rondel chinois" comes to mind - it's a lovely thing to sing, but it's not a song of any distinction), but most of these are perfect gems.
The singing on this set varies a little. On the plus side is the ever-beautiful Elly Ameling, who had perhaps the most limpidly beautiful light lyrical soprano voice the world has ever heard; the amazing Frederica von Stade, who sings divinely; Michele Command, whose more robust soprano voice is often stunning; the experienced baritone Gérard Souzay (I have to admit I do not like his voice myself - his timbre and approach are not to my taste - but he is certainly very experienced in this genre and his French is so beautiful to listen to)... and on the not-so-plus side (for me, anyway) is the coloratura soprano of Mady Mesplé. I know there are devoted fans of Ms Mesplé - I must admit I am not one of them. While I admire the glorious ease of her top notes, and the young and attractive sound of the voice's natural timbre, I LOATHE what is to me an unbearable fluttering vibrato that ruins her singing. It sounds extraordinarily under-supported and very uncomfortable - but I also admit that Ms Mesplé clearly has a deep feeling for these mélodies. She certainly knows how to phrase - and certainly the range of her voice is remarkable. If only that twitter could be magicked away... then I'd probably be very satisfied with her singing.
Overall, then, this set is a charming and well-chosen array of almost all of Debussy's vocal output. It is not complete, though. I would recommend supplementing this delightful 3CD set with the recording of Debussy songs by Sandrine Piau, the somewhat bland but extremely pretty recording of Debussy's early songs by Gillian Keith, and the recording of Debussy songs sung by Anne-Marie Rodde (again, so very pretty, and it is one of the few recordings to include Debussy's duet "Chanson espagnole" - which is otherwise represented quite hideously on a recording by a tenor and baritone).
There's also some amazingly beautiful singing of Debussy songs on an album by Christine Oelze (her timbre reminds me so much of Ameling's - just lovely, and what excellent French!).
I have not listened to Dawn Upshaw's recording of Debussy songs, as she is not one of my favourite singers, but given that I've enjoyed her French performances in the past, I do plan to add her recording entitled "Forgotten Songs" to my collection.
And with all of that lot, you, the Debussy collector, will have a truly wonderful collection of Debussy's songs to hand!
good value.......2007-01-07
Very nice sellection of pieces and artists.......2006-05-01
If you like Debussy, you will certainly like this collection. If you are a died in the wool Upshaw fan, Miss Dawn's effort may sould a bit better to you.
I think this one definitely gives you more for the money.
Fabulous compositions, moments of great performing.......2002-08-07
Gerard Souzay seems like he's just going through the motions on all of his tracks; Elly Ameling has fabulous technique as always, but there is something wanting; Mady Mesple gives a great (if not heartfelt) performance. The standout performance on this disc is of the Ariettes Oubliees, as performed by Frederica von Stade. Beautiful, and the emotion is there.
I would recommend it for any singer's library. I do, however, hesitate to give it 5 stars and recommend it to everyone because the emotion just isn't there through many of the tracks--and Debussy without emotion is like bread without yeast--flat.
A Great Tribute to Debussy's Melodies.......2000-11-18
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The Complete Caruso
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ASIN: B0001TSWQO Release Date: 2004-11-09 |
Average customer rating:
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Bizet: Les Pêcheurs des perles; Ivan IV
Manufacturer: Capitol ProductGroup: Music Binding: Audio CD Romances
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ASIN: B000002SFC Release Date: 1990-10-25 |
Tracks:
- Les Pechuers De Perles: Prld - Comic Opr Nat Theatre Orch/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Choeur: Sur la greve en feu - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Scene et choeur: Amis, interrompez vos danses - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Recit et reprise du choeur danse: Demeure parmi nous, Nadir - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.2. Recit: Cest toi qu'enfin je revois - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.2. Duo: Au fond du temple saint - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.3. Recit: Que vois-je? - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.3. Choeur: Elle vient... Sois la bienvenue - Ernest Blanc/Janine Micheau/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.3. Scene et choeur: Seule au milieu de nous - Ernest Blanc/Janine Micheau/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.4. Recit: A cette voix - Nicolai Gedda
- Les Pechuers De Perles: Act I, No.4. Romance: Je crois encore entendre - Nicolai Gedda
- Les Pechuers De Perles: Act I, No.5. Scene et choeur:Le ciel est bleu - Nicolai Gedda/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.5. Air et choeur: O Dieu Brahma! - Janine Micheau/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act II, No.6. Entracte, scene et choeur: L'ombre descend des cieux - Janine Micheau/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act II, No.7. Recit et cavatine: Me voila seule dans la nuit - Janine Micheau
- Les Pechuers De Perles: Act II, No.8. Chanson: De mon amie - Janine Micheau/Nicolai Gedda
- Les Pechuers De Perles: Act II, No.9. Duo: Leila! Dieu puissant - Janine Micheau/Nicolai Gedda
- Les Pechuers De Perles: Act II, No.10. Final: Ah! Revenez a la raison - Janine Micheau/Nicolai Gedda/Jacques Mars
Tracks:
- Les Pechuers De Perles: Act III, No.10. Final: Arretez! C'est a moi d'ordonner - Ernest Blanc/Janine Micheau/Nicolai Gedda/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act III, No.11. Entracte, recit et air L'orages'est calme...o Nadir - Ernest Blanc
- Les Pechuers De Perles: Act III, No.12. Recit: Qu'ai-je vu? - Ernest Blanc/Janine Micheau
- Les Pechuers De Perles: Act III, No.12. Duo: Jefremis, je chancelle - Janine Micheau/Ernest Blanc
- Les Pechuers De Perles: Act III, No.12. Scene:Entends au loin... - Jaques Mars/Janine Micheau/Ernest Blanc
- Les Pechuers De Perles: Act III, No.13. Choeur danse:Des que le soleil - Comic Opr Nat Theatre Orch/Pierre Dervaux
- Les Pechuers De Perles: Act III, No.14. Scene et choeur: Sombres divinites - Jaques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux/Ernest Blanc
- Les Pechuers De Perles: Act III, No.15. Trio: O lumiere sainte - Janine Micheau/Nicolai Gedda/Ernest Blanc
- Les Pechuers De Perles: Act III, No.16. Final: Cesont eux, les voici - Ernest Blanc/Nicolai Gedda/Janine Micheau/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Ivan IV: Act I, Duo: Puisses-tu voir longtemps encore - Janine Micheau/Michel Senechal
- Ivan IV: Act I, Final du premier tableau: Victoire! Victorie! Chantez! - Pierre Savignol/Henre Legay/Nat Chor de la R.T.F./Georges Tzipine
- Ivan IV: Act I, Serenade: Ouvre ton coeur a l'amour qui m'enflamme - Michel Senechal
- Ivan IV: Act I, Recit et chand du Cosak: Et c'est un chant de femmes... - Michel Roux/Louis Noguera/Nat Chor de la R.T.F./Georges Tzipine
- Ivan IV: Act II, Choeur danse: Sous nos pas resonnent... - Nat Orch de la R.T.F./Georges Tzipine
- Ivan IV: Act III, Air de Mare: II me semble parfois que mavie est un songe - Janine Micheau
- Ivan IV: Act III, Recit et air d'Igor: La vengeance va donc etre enfin satisfaite...Pourquoi me verr - Henri Legay
- Ivan IV: Act III, Duo: Marie ! Igor! - Henri Legay/Janine Micheau
- Ivan IV: Act III, Final: Voyez! Ah! Mon epouse... - Janine Micheau/Henri Legay/Michel Senechal/Michel Roux/Pierre Savignol/Louis Noguera...
- Ivan IV: Act IV, Final: A mort! A mort! - Janine Micheau/Henri Legay/Michel Senechal/Michel Roux/Pierre Savignol/Louis Noguera...
Customer Reviews:
Bizet: Les Pêcheurs De Perles.......2004-02-03
While I gave this recording five stars for its glorious sound and very good performance from all stars including Mr. Nicolai Gedda, he does indeed sound a bit strained in the romance "Je crois encore entendre". This is not surprising since Bizet wrote this passage in extremely high notes!
I highly recommend this recording to all Bizet fans.
My review.......2003-02-17
middle of the road performance.......2001-11-06
The voices are generally good - Gedda's Nadir is smooth and beautiful, idiomatic in style, if sometimes a little strained under pressure - and that's not strange - Nadir's writing is very high. The romance 'je crois entendre encore' is however a wonder of precision and smoothness, technically perfect indeed, but it's rather hard to imagine that he sings a romance when there's no trace of feelings there. Janine Micheau on the other side is as always rather dry in tone, but perfectly french in style, and her vibrato is not as wide as it sometimes could be - and her performance is, I think, the most 'felt' of the three main roles. Ernest Blanc as Zurga is also rather unengaged, although with a firm and effective voice. The conducting is also rather uninspired, and perhaps that's the main problem, cause an uninspired conductor can damage a whole performance.
There are at least three better recordings according to my taste, and one of them stand clearly ahead of the other: the live recording from 1959 with Vanzo/Micheau/Baquier and Rosenthal as conductor, available here on Amazon.com. A typically french performance with all the positive effects of a live recording captured in good sound and hardly none of the negative ones, combined with wonderful singers in their prime. Vanzo, as Nadir, is alone worth the purchase (it's also budget priced!). Thereafter I think the two mono recordings from Philips (Simoneau/Alarie/Bianco/Fournet) and EMI (Legay/Angelici/Dens/Cluytens) are good. There are studio recording with more modern sound, but they all let you down in one way or the other - you might as well go for this one in comparission to them.
Compared to other more modern stereo versions, this one has the great advantage of giving us highlights from the very rare Bizet opera 'Ivan IV' with an other conductor and different cast. For the real Bizet fans this alone might be worth the purchase, but if you just want a good version of this lovely opera, go for one of the three I've mentioned above.
Opera to love.......2000-04-19
Wonderful piece of work.......1998-12-07
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Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Francis Poulenc , Dalton Baldwin , Elly Ameling , Gérard Souzay , Nicolai Gedda , Michel Sénéchal , and William Parker Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Poulenc
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ASIN: B000002S31 Release Date: 1992-01-23 |
Tracks:
- LE BESTIAIRE OU CORTEGE D'ORPHEE: I - Le Dromadaire
- LE BESTIAIRE OU CORTEGE D'ORPHEE: II - La Chevre Du Tibet
- LE BESTIAIRE OU CORTEGE D'ORPHEE: III - La Sauterelle
- LE BESTIAIRE OU CORTEGE D'ORPHEE: IV - Le Dauphin
- LE BESTIAIRE OU CORTEGE D'ORPHEE: V - L'ecrevisse
- LE BESTIAIRE OU CORTEGE D'ORPHEE: VI - La Carpe
- COCARDES: I - Miel De Narbonne
- COCARDES: II - Bonne D'enfant
- COCARDES: III - Enfant De Troupe
- 5 POEMES DE RONSARD: I - Attributs
- 5 POEMES DE RONSARD: II - Le Tombeau
- 5 POEMES DE RONSARD: III - Ballet
- 5 POEMES DE RONSARD: IV - Je N'ai Plus Les Os
- 5 POEMES DE RONSARD: V - A Son Page
- CHANSONS GAILLARDES: I - La Maitresse Volage
- CHANSONS GAILLARDES: II - Chanson A Boire
- CHANSONS GAILLARDES: III - Madrigal
- CHANSONS GAILLARDES: IV - Invocation Aux Parques
- CHANSONS GAILLARDES: V - Couplets Bachiques
- CHANSONS GAILLARDES: VI - L'offrande
- CHANSONS GAILLARDES: VII - La Belle Jeunesse
- CHANSONS GAILLARDES: VIII - Serenade
- AIRS CHANTES: I - Air Romantique
- AIRS CHANTES: II - Air Champetre
- AIRS CHANTES: III - Air Grave
- AIRS CHANTES: IV - Air Vif
- Epitaphe
- 3 POEMES DE LOUISE LALANNE: I - Le Present
- 3 POEMES DE LOUISE LALANNE: II - Chanson
- 3 POEMES DE LOUISE LALANNE: III - Hier
- 4 POEMES DE GUILLAUME APOLLINAIRE: I - L'anguille
- 4 POEMES DE GUILLAUME APOLLINAIRE: II - Carte Postale
- 4 POEMES DE GUILLAUME APOLLINAIRE: III - Avant Le Cinema
- 4 POEMES DE GUILLAUME APOLLINAIRE: IV - 1904
- 5 POEMES DE MAX JACOB: I - Chanson Bretonne
- 5 POEMES DE MAX JACOB: II - Cimetiere
- 5 POEMES DE MAX JACOB: III - La Petite Servante
- 5 POEMES DE MAX JACOB: IV - Berceuse
- 5 POEMES DE MAX JACOB: V - Souric Et Mouric
- 8 CHANSONS POLONAISES: I - La Couronne
- 8 CHANSONS POLONAISES: II - Le Depart
- 8 CHANSONS POLONAISES: III - Les Gars Polonais
- 8 CHANSONS POLONAISES: IV - Le Dernier Mazour
- 8 CHANSONS POLONAISES: V - L'adieu
- 8 CHANSONS POLONAISES: VI - Le Drapeau Blanc
- 8 CHANSONS POLONAISES: VII - La Vistule
- 8 CHANSONS POLONAISES: VIII - Le Lac
Tracks:
- 5 POEMES DE PAUL ELUARD: I - Peut - Il Se Reposer?
- 5 POEMES DE PAUL ELUARD: II - Il La Prend Dans Ses Bras
- 5 POEMES DE PAUL ELUARD: III - Plume D'eau Claire
- 5 POEMES DE PAUL ELUARD: IV - Rodeuse Au Front De Verre
- 5 POEMES DE PAUL ELUARD: V - Amoureuses
- A Sa Guitare
- TEL JOUR, TELLE NUIT: I - Bonne Journee
- TEL JOUR, TELLE NUIT: II - Une Ruine Coquille Vide
- TEL JOUR, TELLE NUIT: III - Le Front Comme Un Drapeau Perdu
- TEL JOUR, TELLE NUIT: IV - Une Roulotte Couverte En Tuiles
- TEL JOUR, TELLE NUIT: V - A Toutes Brides
- TEL JOUR, TELLE NUIT: VI - Une Herbe Pauvre
- TEL JOUR, TELLE NUIT: VII - Je N'ai Envie Que De T'aimer
- TEL JOUR, TELLE NUIT: VIII - Figure De Force Brulante Et Farouche
- TEL JOUR, TELLE NUIT: IX - Nous Avons Fait La Nuit
- 3 POEMES DE LOUISE DE VILMORIN: I - Le Garcon De Liege
- 3 POEMES DE LOUISE DE VILMORIN: II - Au-Dela
- 3 POEMES DE LOUISE DE VILMORIN: III - Aux Officiers De La Garde Blanche
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Dans Le Jardin D'anna
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Allons Plus Vite
- MIROIRS BRULANTS: I - Tu Vois Le Feu Du Soir
- MIROIRS BRULANTS: II - Je Nommerai Ton Front
- Le Portrait
- La Grenouillere
- Priez Pour Paix
- Ce Doux Petit Visage
- Bleuet
- FIANCAILLES POUR RIRE: I - La Dame D'andre
- FIANCAILLES POUR RIRE: II - Dans L'herbe
- FIANCAILLES POUR RIRE: III - Il Vole
- FIANCAILLES POUR RIRE: IV - Mon Cadavre Est Doux Comme Un Gant
- FIANCAILLES POUR RIRE: V - Violon
- FIANCAILLES POUR RIRE: VI - Fleurs
Tracks:
- BANALITES: I - Chanson D'orkenise
- BANALITES: II - Hotel
- BANALITES: III - Fagnes De Wallonie
- BANALITES: IV - Voyage A Paris
- BANALITES: V - Sanglots
- CHANSONS VILLAGEOISES: I - Chanson Du Clair Tamis
- CHANSONS VILLAGEOISES: II - Les Gars Qui Vont A La Fete
- CHANSONS VILLAGEOISES: III - C'est Le Joli Printemps
- CHANSONS VILLAGEOISES: IV - Le Mendiant
- CHANSONS VILLAGEOISES: V - Chanson De La Fille Frivole
- CHANSONS VILLAGEOISES: VI - Le Retour Du Sergent
- METAMORPHOSES: I - Reine Des Mouettes
- METAMORPHOSES: II - C'est Ainsi Que Tu Es
- METAMORPHOSES: III - Paganini
- 2 POEMES DE LOUIS ARAGON: I - C
- 2 POEMES DE LOUIS ARAGON: II - Fetes Galantes
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Montparnasse
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Hyde Park
- 2 POEMES DE GUILLAUME APOLLINAIRE: I - Le Pont
- 2 POEMES DE GUILLAUME APOLLINAIRE: II - Un Poeme
- Paul Et Virginie
- Mais Mourir
- Hymne
- 3 CHANSONS DE FEDERICO GARCIA LORCA: I - L'enfant Muet
- 3 CHANSONS DE FEDERICO GARCIA LORCA: II - Adelina A La Promenade
- 3 CHANSONS DE FEDERICO GARCIA LORCA: III - Chanson A L'oranger Sec
- Le Disparu
- Main Dominee Par Le Coeur
- CALLIGRAMMES: I - L'espionne
- CALLIGRAMMES: II - Mutation
- CALLIGRAMMES: III - Vers Le Sud
- CALLIGRAMMES: IV - Il Pleut
- CALLIGRAMMES: V - La Grace Exilee
- CALLIGRAMMES: VI - Aussi Bien Que Les Cigales
- CALLIGRAMMES: VII - Voyage
Tracks:
- Mazurka
- LA FRAICHEUR ET LE FEU: I - Rayon Des Yeux...
- LA FRAICHEUR ET LE FEU: II - Le Matin Les Branches Attisent...
- LA FRAICHEUR ET LE FEU: III - Tout Disparut...
- LA FRAICHEUR ET LE FEU: IV - Dans Les Tenebres Du Jardin...
- LA FRAICHEUR ET LE FEU: V - Unis La Fraicheur Et Le Feu...
- LA FRAICHEUR ET LE FEU: VI - Homme Au Sourire Tendre...
- LA FRAICHEUR ET LE FEU: VII - La Grande Riviere Qui VA...
- PARISIANA: Le Joueur De Bugle
- PARISIANA: Vous N'ecrivez Plus?
- Rosemonde
- LE TRAVAIL DU PEINTRE: I - Pablo Picasso
- LE TRAVAIL DU PEINTRE: II - Marc Chagall
- LE TRAVAIL DU PEINTRE: III - Georges Braque
- LE TRAVAIL DU PEINTRE: IV - Juan Gris
- LE TRAVAIL DU PEINTRE: V - Paul Klee
- LE TRAVAIL DU PEINTRE: VI - Joan Miro
- LE TRAVAIL DU PEINTRE: VII - Jacques Villon
- La Souris
- Nuage
- Dernier Poeme
- Une Chanson De Porcelaine
- LA COURTE PAILLE: I - Le Sommeil
- LA COURTE PAILLE: II - Quelle Aventure!
- LA COURTE PAILLE: III - La Reine De Coeur
- LA COURTE PAILLE: IV - Ba, Be, Bi, Bo, Bu
- LA COURTE PAILLE: V - Les Anges Musiciens
- LA COURTE PAILLE: VI - Le Carafon
- LA COURTE PAILLE: VII - Lune D'avril
- Toreador
- 4 CHANSONS POUR ENFANTS: I - La Tragique Histoire Du Petit Rene
- 4 CHANSONS POUR ENFANTS: II - Nous Voulons Une Petite Soeur
- 4 CHANSONS POUR ENFANTS: III - Le Petit Garcon Trop Bien Portant
- 4 CHANSONS POUR ENFANTS: IV - Monsieur Sans-Souci
- Fancy
- Colloque
Customer Reviews:
Essential for the chansom junkie. Buy It........2006-10-25
I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.
Almost completely wonderful.......2005-04-29
Indisputable Gallic flair.......2004-06-06
Idiomatic, fresh, cleanly recorded.......2001-05-12
the best songs ever ruined by uneven performing.......2001-05-05
Average customer rating:
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Bizet: Les pêcheurs de perles
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD Romances
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ASIN: B0006VXLOK Release Date: 2005-02-15 |
Tracks:
- Introduction - Orchestra Des Concerts Lamoureux
- Sur La Greve Un Feu - Elisabeth Brasseur Choir
- Amis, Interrompez Voz Danses
- Demeure Parmi Nous, Nadir
- C'est Toi
- Au Fond Du Temple Saint
- Que Vois-Je?
- Sois Le Bienvenue - Elisabeth Brasseur Choir
- Seule Au Milieu De Nous... Brahma, Divin Brahma
- A Cette Voix
- Ke Crois Entendre Encore
- Le Ciel Est Bleu
- O Dieu Brahma... Dans Le Ciel Sans Voile
Tracks:
- L'ombre Descend Des Cieux - Xavier Depraz
- Me Voila Seule Dans La Nuit... Comme Autrefois - Pierette Alaire
- De Mon Amie
- Leila, Leila!... Dieu Puissant... Ton Coeur N'a Pas Compris Le Mien
- Ah! Revenez A La Raison... O Nuit D'epouvante
- L'orage S'est Calme... O Nadir, Tendre Ami De Mon Jeune Age - Rene Bianco
- Qu'ai-je Vu?... Je Fremis, Je Chancelle - Pierette Alarie
- Entends Au Loin Ce Bruit De Fete - Pierette Alarie
- Des Que Le Soleil - Elisabeth Brasseur Choir
- Sombres Divinites
- O Lumiere Sainte
- Ce Sont Eux, Les Voici... Plus De Crainte
Customer Reviews:
Excellent 1953 version emphasizes musicality over drama.......2005-08-08
Sound: Generally good 1950s mono. (Opera d'Oro issues are always iffy on matters of sound, ranging from very good to appallingly bad. They are generally much safer bets when based on studio recordings, as is the case here, than on live performances.)
Text: Standard text adopted with the first revivals of the opera, some years after Bizet's death.
Cast: Nadir - Leopold Simoneau; Zurga - Rene Bianco; Leila - Pierette Alarie; Nourabad - Xavier Depraz. Conductor: Jean Fournet.
Documentation: No libretto. Short plot summary. Track list.
This performance provided my first recording of "Les Pecheurs de perles," acquired more than forty-five years ago on Lp from some obscure European publisher. Having stumbled upon a CD version of the old warhorse, I was greatly pleased to find that it is as good as I had remembered it to be.
By 1863, the 25 year-old Bizet had already set his hand to incidental music to "L'Arlesienne," the requisite Sir Walter Scott opera, "La jolie fille de Perth" and an oriental opera, "Djamileh." He had not yet wrung the hankering for exoticism out of his system, so he embarked on a new opera to be set in pre-Columbian Mexico. With youthful folly, he began writing the music before his two hack librettists, Michel Carre and Eugene Cormon, had figured out a finish for the play. Even before the lack of a finale became a crisis, a major change had to be incorporated. It seems that the "Pearlfishers" team had been beaten in the race to put on an Aztec play in Paris. Since Carre and Cormon had probably known nothing at all about Meso-American empires, it is likely they had no qualms about shifting their story to another place they knew nothing about, Ceylon. Carré and Cormon never did come up with a logical finish, so they just set things on fire and let the doomed lovers depart into the sunset, providing a dramatic arc to "The Pearlfishers" that makes "Il trovatore" look like a textbook example of a well-made play.
I had remembered the star of the recording to be the tenor, Leopold Simoneau, and so he is. Simoneau had a voice of no great size but of surpassing sweetness and elegance. I have seen him described as a latter day Tito Schipa. To some extent he was, but Simoneau was a true vocal technician, far more skillful than that charming old con man, Schipa. Simoneau's Nadir is more focused on the beauty of the musical line than on drama. In this most lyrical of Bizet's operas, it works.
What I had not remembered about this recording was Pierette Alarie. Alarie was a formidable lieder singer who was married to Simoneau and who made many recordings with him. By operatic standards, her voice was small, but it was beautifully pure, precisely focused and amazingly agile, a sort of Francophone Roberta Peters. (For those familiar with Webber's "Phantom of the Opera," Alarie was precisely the type of singer for the role of the Phantom's young protegee.) All those years ago, I was busy being bowled over by Milanov, Tebaldi, Nilsson and Sutherland, so I foolishly discounted Alarie's smaller voice. While I still hold those ladies in highest esteem, this time, when I bought the CD, I actually listened to Alarie and I was amazed. This was particularly true of the closing number of the First Act, "O dieu Brahma." In every other performance that I have seen or heard, heavier-voiced sopranos make this prayer pleasant enough but nothing to compete with the acknowledged big numbers of the act, "Au fond du temple saint," and "Je crois entendre encore." Alarie's version is a revelation. With her lieder singer's discrimination and her phenomenal vocal agility, Alarie offers up a bel canto-like gem.
The Zurga of this set, while good, was simply not in the class of Simoneau and Alarie. René Bianco had a baritone voice that was pleasant but not at all commanding, not the best thing for portraying a character who is all assertiveness. The slight fuzziness of his vocal production kept Bianco from being an equal with the super-focused Simoneau and Alarie in the ensembles.
Nourabad is a thankless part, placed in the opera merely to keep the plot ticking. I remember nothing about any Nourabad I have seen or heard in the past. I remember nothing about Xavier Depraz beyond the obvious fact that he was not bad enough to make me remember him for that reason.
The first time I listened to these CDs, I found myself puzzled by the conducting. Jean Fournet was a big name in the French repertory in the years straddling World War II. As I had been particularly impressed by his dramatic "Samson et Dalila," the comparative looseness of dramatic tension here seemed odd. After comparing his version of "The Pearlfishers" with those of Rosenthal, Dervaux and Pretre, I think it probable that there was mutual agreement among Fournet, Simoneau and Alarie to downplay melodrama in favor of musicality, to take a miniaturist, even lieder-like approach. Of the four conductors, Fournet is the most precise and the most French. "The Pearlfishers" may take place on exotic Ceylon, but Jean Fournet's Ceylon is firmly anchored in the Seine, not many meters downstream from the Cathedral of Notre Dame.
This is an excellent "Pearlfishers." This version and the excellent 1959 live version conducted by Manuel Rosenthal (Gala GL 100.504), which emphasizes the drama of the opera, should be in any serious collection.
Five stars.
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The Voice of France
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The Decca Records Store
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ASIN: B000075A80 Release Date: 2002-11-12 |
Tracks:
- La Marseillaise (French National Anthem) - Placido Domingo
- Dome Epais Le Jasmin (Flower Duet) - Joan Sutherland
- L'amour Est Un Oiseau Rebelle - Regina Resnik
- C'est Toi...Au Fond Du Temple Saint - Gregory Cross
- Belle Noit, O Nuit D'amour - Joan Sutherland
- Apres Un Reve - Renee Fleming
- L'invitation Au Voyage - Gerard Souzay
- Cantique De Jean Racine, Op.11 - Choir Of St. John's College, Cambridge
- Rachel, Quand De Seigneur - Leopold Simoneau
- O Vin, Dissipe La Tristesse - Sherrill Milnes
- Je Suis Titania - Beverly Sills
- Ah, Ou Va La Jeune Indoue - Joan Sutherland
- Les Filles De Cadix - Angela Gheorghiu
- Mon Coeur S'ouvre A Ta Voix - Marilyn Home
- Alerte! Alerte!...Anges Pur - Nuccia Focile
Tracks:
- Frere Jacques - Rita Streich
- Air De Letter: Mon Chet Amant - Regine Crespin
- Marthe Dieu Soit Loue...Deposons Les Armes (Soldiers' Chorus) - Robert Massard
- In Paradisum - L Union Chorale de La Tour De Peliz
- Villanelle - Regine Crespin
- Je Veux Vivre - Joan Sutherland
- Chanson A Boire - Gerard Souzay
- L'Enigme Eternelle - Suzanne Danco
- Sur Le Pont D'Avignon - Hilde Guden
- Phidyle - Gerard Souzay
- Les Gars Qui Vont A La Fete - Gerard Souzay
- Notre Amour - Sylvia McNair
- Beau Soir - Elly Ameling
- C'est L'extase Langoureuse - Sylvia McNair
- Puisqu'on Ne Peut Flechir Ces jalouses Gardiennes-Vainement Ma Bien-Aimee - Alfredo Kraus
- Il Est Doux, Il Est Bon - Angela Gheorghiu
- Hotel - Gilles Cachemaille
- Petite Dinde, Ah! Quel Outrage - Maggie Teyte
- Bailero - Kiri Te Kanawa
- Brezairola - Kiri Te Kanawa
- Malurous Qu'o Uno Fenno - Kiri Te Kanawa
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Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Offenbach
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ASIN: B000005E4D Release Date: 1996-10-29 |
Tracks:
- Les Contes D' Hoffmann: Prelude - Kent Nagano
- Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
- Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
- Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
- Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
- Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
- Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
- Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
- Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
- Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
- Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
- Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
- Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
- Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
- Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
- Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
- Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
- Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
- Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
- Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
- Les Contes D' Hoffmann: Serviteur - Kent Nagano
- Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
- Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
- Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
- Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
- Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
- Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
- Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
- Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano
Tracks:
- Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
- Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
- Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
- Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
- Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
- Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
- Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
- Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
- Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
- Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach
Tracks:
- Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
- Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
- Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
- Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
- Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
- Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
- Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
- Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
- Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
- Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
- Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
- Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
- Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
- Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
- Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
- Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
- Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach
Amazon.com
Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick StearnsCustomer Reviews:
Not a flawless version, but one to be REALLY loved.......2006-05-09
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.
The best of a mediocre-to-bad lot.......2003-10-30
Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.
I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.
That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.
Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)
This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.
The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)
Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.
Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.
Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).
An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.
Hoffman contines to elude the recording world.......2001-10-03
I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.
On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.
No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.
Excellent but not definitive.......2001-04-20
First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....
Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of