Victor Soleil

1. Cuando Estoy Contigo

2. Déjame

3. Café Por la Mañana

4. Te Extraño

5. Soñar

6. Quiero Mas de Ti

7. Donde Vas

8. Despierto Soñando

9. Te Seguiré

10. Por Ti Venceré

11. I Need You

12. Dime

13. Primer Amor

Tracks:

Ah!...Ou Va La Jeune Hindoue?
Ah! Je Veux Vivre
Oui! Pour Ce Soir...Je Suis Titania La Blonde (Polonaise)
Les Oiseaux Dans La Charmille
A Vos Jeux...Partagez-vous Mes Fleurs...Et Maintenant, Ecoutez Ma Chanson!
Una Voce Poco Fa
Ah! Non Credea Mirarti...Ah! Non Giunge
Di Piacer Mi Balza Il Cor
Gualtier Malde...Caro Nome
Il Dolce Suono...Ardon Gl'Incensi...Spargi D'Amaro Pianto

Tracks:

Quartet No.2 For Soprano, Violin, Viola, & Cello
In Furore Giustissimae Irae
I. La Dame D'Andre - Gabriel Tacchino
II. Dans L'Herbe - Gabriel Tacchino
III. Il Vole - Gabriel Tacchino
IV. Mon Cadavre Est Doux Comme Un Gant - Gabriel Tacchino
VI. Fleurs - Gabriel Tacchino
Les Chemins De L'Amour Op.106 (Anouilh) - Gabriel Tacchino
A Chloris (Viau) - Dalton Baldwin
Si Mes Vers Avaient Des Ailes (Hugo) - Dalton Baldwin
L'Heure Exquise (Chanson Grises, Verlaine) - Dalton Baldwin
Le Chapelier (Chalupt)
Dapheneo (Godebska)
La Diva De L'Empire (Intermezzo Americain) (Bonnaud & Bles)
Ecoutez, C'est Le Chant Des Cigales
Au Bord Du Chemin Qui Passa A Ma Porte
La Bergere Colinette (Villanelle)
Tout Est Soleil, Tout Est Printemps

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

The artistry and allure of a French nightingale.......2007-06-03

This is one of the rare cases when the title of a CD matches completely its content. The Very Best of Mady Mesplé showcases the amazing talent and legacy of the beautiful lady that was the star coloratura soprano of the Paris Opera during the second part of the twentieth century. The first CD is dedicated to opera arias, and only a hearing of the first number, The Bell Song from Delibes' Lakmé, gives us a summary of what makes Mesplé so special. There is hardly a more musical or virtuosic version than the one presented here (from her complete recording of the opera). The legend is presented by the soprano with engaging interest and great attention to the words. The bell refrains are amazingly fast, with diminutive stacatti, a great trill and ravishing high notes. The final cadenza is very exciting, ending with a firm, beautiful high E that soars triumphally over the orchestra. All these qualities are present when she is singing Juliette, Philine, Ophélie and Olympia. Particularly on this last aria she conveys in her voice the illusion of hearing an automaton instead of human being and there is no ornamentation except on an interpolated high Eflat at the end. It is remarkable how Mesplé always is musical with her ornamentation. The Italian arias that end the first Cd are very pretty, even though they are not as successful, given the distinctive sound of the soprano, more in her element with the nuances of her native language than the legato singing that is proper to the belcanto style. However, the arias are still lovely, specially Una voce poco fa, where Mesplé showcases not only her high register but also the lower part of her voice by singing the first part of "Io sono docile" exactly the way it is written. CD number 2 takes the listener to a totally different aspect of Mady Mesplé's artistry with incursions into contemporary music, a Baroque cantata, French art song and French operetta. The Quartet no.2, for soprano, violin, viola and cello is a very demanding piece where the soprano becomes another instrument: dissonant and difficult intervals are required in all the registers of the voice. The soprano succeeds on this as well as the motet by Vivaldi, a totally different number of equal difficulty. A great part of the CD is then dedicated to songs by Poulenc, Hahn and Satie, where the singer perfectly conveys the mélodie style with her very distinctive sound, that can convey all degrees of emotion, from innocence to worldliness. Specially remarkable are Poulenc's Le chemin de l'amour, Hahn's Si mes vers avait des ailes and Satie' La diva de l'empire. The final part of the CD is dedicated to French operetta arias, a very important part of Mesplés discography. All the selections are a delight. It is worth noticing that she recorded the virtousic aria from Massé's Les noces de Jeanette in 1981, in the later part of her career and there is no difference in the sound and technique from Mesplé's debut recordings. The CD ends in a high note (literally and metaphorically) with a delightful waltz by Johann Strauss where she ends with a stunning Aflat over high C. In summary, this is a superb presentation of the career of Mady Mesplé, a singer who was not only one of the most stunning coloraturas of all time, but also a gifted and versatile artist.

High note feast :).......2006-10-02

I love this set. Her voice is similar to that of Pons, but this is in clear stereo sound! And her highest notes don't sound like whistle tones! The Bell song won me over; Sutherland is still my favorite singer, but she did not have the acuti of Mesple. Very good listening here.It is all so effortless - that final note on CD 2 (A-flat above high c''') is astonishing!

Simply beautiful high notes.......2006-08-14

I feel ashamed of myself. Really. For all the years I have been listening to pons and sutherland and callas and the more recent dessay and jo, I never really paid attention to Mady Mesple. I really wished I had. Her voice is so pure and bell-like similar to Pons but with a much richer middle range and with the most impressive solid low range I have heard on a coloratura sopranos. It is a tragedy that she was over shadowed by the coloratura powerhouse which is Joan Sutherland. Her high notes are to die for and really it would hard to find anyone who can hit them like her. She may not have Pons agility but the lightness and tone of her high e flat can certainly go head to head with pon's and may possibly be a tiny step above pon's which up until this point didn't think was possible.

Mady Mesplé's wonderful album.......2005-08-30

I felt a sense of awe listening to Mady Mesplé's voice. Of the two CD set, I much prefered CD #1 as #2 was a bit too modern for me. #1 has many of my favorite soprano arias, and Mlle. Mesplé did them all justice.

A glorious bit of memorabilia from a sadly forgotten soprano.......2005-05-10

Mady Mesple is one of the best kept secrets of the music industry today. Of course, when you're singing around the same time as Joan Sutherland you're rather likely to be overshadowed. Still, Mesple offers a wealth of musical goods that even Sutherland never could have given. Not only is her coloratura technique virtually flawless, she (gasp)inflects every word she sings with great sensitivity to the text, never losing grasp of the character she is striving to portray. Of course, she does have a rather controvertial aspect to her voice that many listeners may object to, As a classic french coloratura, her vibrato is VERY fast, fluttering tremulously at all times but never getting in the way of her pitch. Still, her high notes are exceptional (the second CD ends with a glorious high A flat) and the fresh, girlish beauty of her tone is unsurpassed even today (my apologies to Natalie Dessay). Be sure not to miss her Bell Song, by FAR the best I have ever heard! Her voice has a crystaline quality that is PERFECT for that particular aria. Her Doll Song is rather weak, but her mad scene from Hamlet MORE than makes up for it (can we say eight seconds of beautiful high F harp?!!). The second CD offers Mady in a more matura phase of her life, singing sensuously in more traditional art songs before going on to challenging operetta arias. And you won't want to miss the violin, viola, cello, soprano quartet that opens the CD!!! Let's just say you're in for a surprise... this CD is a must-have!

Average customer rating:

Carnaval

French Coloratura Arias

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Sumi Jo - Bel Canto / Arevalo · ECO · Carella
Sumi Jo - Les Bijoux / Carella
Sumi Jo sings Mozart
Sumi Jo - La Promessa / Vincenzo Scalera

ASIN: B00020QW9G
Release Date: 2004-09-14

Customer Reviews:

Carnaval.......2005-12-05

There is no track listing on Amazon for this album. It is a re-release of Sumi Jo's album "Carnaval" which had, for some insane reason, gone out of print (something to do with a merger).

As for the album itself, there is no way to accurately describe how impressive this singing is. Jo's coloratura may not be as fast as Emma Kirkby's or as accurate as Cecilia Bartoli's, but nobody can surpass her sense of fun or the ease with which she sustains her highest notes.

Two tracks in particular stand out: "Le jour sous le soleil beni" is a rather slow, beautiful aria (the only non-coloratura aria included on the disc) which is capped with what must be the longest sustained high D-flat in history--sung pianissimo. Montserrat Caballe, eat your heart out. The other is the Carnaval de Venise, made famous by Mado Robin. Although Jo does not hit Robin's B-flat above high C, her version is infinitely more impressive, particularly the last two minutes, which is simply a roller-coaster ride of coloratura with no rests, no rubato, and very few breaths. Everyone I've ever played this track for has been rendered speechless.

Although those two arias stand out, there are really no tracks on this album which are not impressive and/or beautful. The Sevillana captures her sense of fun, "Canari" and the "Couplets de Mysoli" emphasize her control of pianissimo high notes, and "Jours de mon enfance" and "Reves d'amour, reves de gloire" both end in perfect, sustained high E's. One of my favorite albums ever. I'm happy it has been re-released.

Rosa Ponselle: 1939 Victor & 1954 "Villa Pace" Recordings

Average customer rating:

Revealing
Villa Pace Recordings

Rosa Ponselle: 1939 Victor & 1954 "Villa Pace" Recordings

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Ponselle, Rosa | Divas | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000001S3P
Release Date: 1996-11-08

Tracks:

Si tu voulais
A l'aime
The Nightingale and the Rose
When I Have Sung My Songs
When I Have Sung My Songs
Ave Maria
On Wings Of Dreams
Ave Maria
Plaisir d'amour
Jeune fillette
Beau soir
Bonjour, Suzon
La chevelure
Carmen-Carmela
El Mirar de la Maja
La partida
La Molinara: Nel cor piu non mi sento
Star vicino
'A Vucchella
Ideale
Marechiare
Fa la nana, bambin
Dicitencello vuje
Could I

Tracks:

Amadis: Bois espais
Rosemonde
Guitares et mandolines
From: 'Poem de l'amour et de la mer': Le temps des Lilas
Von ewiger Liebe, Op 43 No. 1
Mir traumte von einem Konigskind, Op. 4 No. 5
Erlkonig, Op. I
In questa tomba oscura
Rispetto
O del mio amato ben
Aprile
Amuri, amuri
I battitori di grano
Drink To Me Only With Thine Eyes
The Night Wind
Homing
Interview With Ruby Mercer: Introduction And Announcement Of Lully's - 'Bois epais'
Interview With Ruby Mercer: Comments On Persico's - 'Rosemonde'
Interview With Ruby Mercer: Comments On Saint-Saens's - 'Guitares et mandolines'
Interview With Ruby Mercer: Comments On Brahms's - 'Von ewiger Liebe'
Interview With Ruby Mercer: Comments On Trunk's Mir - 'traumte von einem Konigskind'
Interview With Ruby Mercer: Comments On Schubert's - 'Erlkonig'
Interview With Ruby Mercer: Comments On Beethoven's - 'In questa tomba oscura'
Interview With Ruby Mercer: Comments On Wolf-Ferrari's - 'Rispetto'
Interview With Ruby Mercer: Comments ON Donaudy's - 'O del amato ben'
Interview With Ruby Mercer: Comments On Tosti's - 'Aprile'
Interview With Ruby Mercer: Comments On Sadero's - 'Amuri, amuri'
Interview With Ruby Mercer: Comments On Sadero's - 'I battitori di grano'
Interview With Ruby Mercer: Comments On - 'Drink To Me Only With Thine Eyes'
Interview With Ruby Mercer: Comments On Farley's - 'The Night Wind'
Interview With Ruby Mercer: Comments On de Riego's - 'Homing And Concluding Remarks'

Tracks:

Le nozze di Figaro: Voi che sapete
Tre giorni son che Nina
An die Musik, Op. 88 No. 4
Der Tod und das Madchen, Op. 7 No. 3
Traume, No. 5 From ' Wesendonck Lieder'
Morgen!, Op. 27 No. 4
Nur wer die Sehnsucht kennt, Op. 6 No. 6
L'invitation au voyage
Psyche
Tristesse eternelle
From 'Seven Popular Spanish Songs': Asturiana, No. 3
From 'Seven Popular Spanish Songs': Nana, No. 5
My Lovely Celia
In The Luxembourg Gardens
Angus Dei
Ave Maria
Ave Maria
Ave Maria
Ave Maria
Se
Colombetta

Amazon.com

Legendary soprano Rosa Ponselle recalled these sessions taped by RCA in her Baltimore home as the only time she enjoyed making records. Fourteen years after her abrupt retirement from opera, her voluptuous instrument (ruby red in the '39 Victors and now tinged with purple) soars to better advantage in the amplitude of her spacious music room than within the cramped confines of the recording studio. Whether in Beethoven, Schubert, Debussy, Mozart, or Tosti songs, or chestnuts like "Drink To Me Only With Thine Eyes," the vocalism is always informed by Ponselle's musical intelligence and sense of style. Romophone brings together all the material from these home sessions, including 75 minutes of music not issued by RCA, plus a promotional interview that reveals a warm, down-to-earth persona quite different from your typical diva stereotype. Ponselle fans need no encouragement to acquire this set. --Dan Davis

Customer Reviews:

Revealing.......2004-12-28

It must be remembered when approaching these recordings that we are not hearing the Ponselle of the Met singing her great roles, we are hearing the Ponselle of retirement, and a long retirement. She seems to have left her career right at its height, and for whatever reasons. She was not idle, but was active in the world of opera in other ways (including working with many now famous singers when they were students: Sherryl Milnes, Beverly Sills just to name two). She approached her music with the vibrancy of her time, which is often at odds with how we would sing such things today (the Mozart aria for Cherubino for example). However, even though we hear a voice that has now started to show wear, not from oversinging, but rather from not being used all that often and from age, we are not listening to someone who has "lost it all." Everything that made her great is still there for us to enjoy and wish we could experience. Her range is no longer seamless as it was during her active singing career (a thing she was noted for), but her legato is a wonder to behold, as it was during her most active singing years. It is no wonder that singing teacher tell students to listen to her recordings to learn what legato is all about (and as a result, Ponselle is one of the most immitated singers in history, but at no time has anyone ever captured her sound, her quality, her depth of tone, her ring, her anything; people may try to immitate the essence of her singing by copying what they hear -- even the great Maria Callas' interpretations in La Vesta sound like haunting echos of Ponselle -- but what was the depth of her interpretations or of her voice no one has ever come close to matching). Her chest notes are raw at times, but they do not ruin the music in any way. Her top notes (which always put terror into her heart, but for the life of me, after listening to all her recordings available, I cannot figure out why -- even after reading her story of why the High C in Aida scared her so much --- her high notes were extremely secure, even a high D flat in the trovatore arias, no strain is evident at any time, not ever!), well, her top notes are at time frayed and not centered as they were. Still, once again, that is not a bother. It is evident that at times she has to "work rather noticeably" to produce her top notes, but there again, we are not offended by what we hear.

What we do experience, and mostly because we have no arias from her great roles to listen to, is the Ponselle way with a song. She just seemed to embrace a song and make it her own. Her interpretation may be enjoyable to you, you may find other singers you like better, but her interpretation is NEVER common and without validity. Each piece is truly her own stamped completely with her emotional and vocal understanding of the text and the music.

That brings me to the diction part of the recording. Her RRRRRR (rolled R, or tongue trill by some) is very pronounced and now days may be seen as tasteless. However, it was the way things were sung then, and not just in Italian (even English actors rolled their R's beyond belief at that time). Personally, the well pronouced rolled R has never bothered me whatever, and in a way, I expect to hear it when singers are singing opera. It is so played down now days, one is sometimes completely unaware an R was even said. Ponselle's diction is incredible, and I don't just say that. Each and every word is completely understandable, even in English (which is crystle clear). It seems that was a common trait back in her day, for in many recordings of that time and earlier that I have the singers are exceptionally clear with their diction (even the Met manager, former singer, Edward Johnson is so clear while singing English -- a collection of Canadian songs -- one is stunned that the poor recordings quality didn't just eat up the words). Perhaps such singers as Renee Flemming and all the other greats of today should play some Ponselle recordings and learn what diction is all about.

These recordings, though made long after her retirement, are still a great testiment as to what she was like as a singer, for they give us all the greatness that was hers. It makes people like me, who were born after she retired (though quite a while before she died, as I remember her well on live from the met broadcasts on the radio Saturday afternoons) wish we could go back in time and hear some real singing.

In addition to the music, we have some interviews with Ruby Mercer, which are a real delight to listen to. No wonder people like Sills have nothing but great memories working with Ponselle. She is truly well grounded. She knows her contribution to the world of music for exactly what it is. There is no false modesty, nor is there any "high mindedness about self." We have a very down to earth person talking about things, even why she chose some of the music she did, in a very down to earth way.

I recommend the set to anyone who loves to hear great singing, even if it would have more appeal to collectors than average people. It is well recorded, and the sound is excellent. It is a treasure to have on any record shelf.

Villa Pace Recordings.......2003-05-15

This recording is a must for anyone who loves to hear art songs sung incredibly. Aside from Rosa Ponselle's voice being arguably one of the most beatiful, distictive, incredible sounding voices (so big that it was troublesome to record), the fact that she is also one of the greatest vocal artists in the world is also evident. Although most of the songs were recoreded when her voice wasn't as capable of stunning high high C's (there wasn't any Aida aria's on this one), her musicality, ability to act with her voice, and her use of language is breath-taking. Especially nice, is her french, it's so clear and clean, yet doesn't sound constricted or bothersome. The best track is the second lower version of "When I have sung my Songs". It is truly phenomenal, and her singing of this piece is a true testament to what this woman was capable of. Also her "o del mio amato ben" some of the most dramatically genuine singing I 've heard. Buy this CD if you want to hear some real singing and one of the greatest voices of the 20th century.

Amelita Galli-Curci: Complete Acoustic Recordings, Vol. 2 (1920-24)

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Amelita Galli-Curci: Complete Acoustic Recordings, Vol. 2 (1920-24)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000001S37
Release Date: 1995-11-01

Sumi Jo - Carnaval ! ~ French coloratura arias / ECO · Bonynge

Average customer rating:

Wonderful!
This album will knock your heart off!
!!!!!!!!!!!!!!!!!!!!
This recording will knock your socks off...
Sumi Jo at her Best!

Sumi Jo - Carnaval ! ~ French coloratura arias / ECO · Bonynge
Jacques Offenbach , Léo Delibes , Ambroise Thomas , Andre-Ernest-Modeste Gretry , Michael William Balfe , Andre Messager , Felicien David , Adolphe Adam , Ferdinand Herold , Jules Massenet , Francois-Adrien Boieldieu , Victor Masse , Richard Bonynge , Sumi Jo , English Chamber Orchestra , William Bennett , and Anthony Marwood
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Sopranos | Voices | Opera & Vocal | Styles | Music
Similar Items:

Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
French Coloratura Arias
Sumi Jo - La Promessa / Vincenzo Scalera
Sumi Jo - Bel Canto / Arevalo · ECO · Carella

ASIN: B00000422V
Release Date: 1994-11-15

Tracks:

Un mari a la porte: Valse tyrolienne
Don Cesar de Bazan: Sevilana
La Perle du Bresil: Couplets du Mysoli - Sumi Jo/William Bennett
L'Amant jaloux: Je romps la chaine qui m'engage
Le Puits d'amour: Reves d'amour, reves de gloire
Madame Chrysantheme: Le Jour sous le soleil beni
Le Songe d'une nuit d'ete: Malgre l'eclat qui m'environne
Les Pantins de Violette: La Chanson du canari
Le Pre aux clercs: Jours de mon enfance - Sumi Jo/Anthony Marwood
Le roi l'a dit: Portons toujours des robes sombres
Si j'etais roi: Grand air: De vos nobles aieux
Le Fete du village voisin: Bolero
La Reine Topaze: Carnaval de Venise

Amazon.com

Now that conductor Richard Bonynge doesn't have his now-retired wife Joan Sutherland to accompany him on his arcane journeys into forgotten French opera, he has hooked up with the spectacular coloratura Sumi Jo for a series of recordings exploring mid-19th-century operetta. This one is a nice aria compilation, especially welcome since you wouldn't want to hear the entire scores of these works by Adam, Grétry, Messager and Delibes. One hears influences by Rossini, flashes of Mozart, and lots of vocal fireworks-- especially the final selection, Carnaval de Venise by Massé. --David Patrick Stearns

Customer Reviews:

Wonderful!.......2001-07-15

This CD is a MUST GET! It's very relaxing - great to listen to when guests are over or you simply feel like being alone from the world. In this CD - you can see that she's matured more and is better then ever ... Those who like Sumi-Jo, grab it as soon as possible!

This album will knock your heart off!.......1999-11-20

Just an intriguing episode to add here. When this album was released, quite a few people thought that it is absolutely impossible for a human to sing like Jo did. They conjectured that there must be a sort of mechanical manipulations added. To prove that there was no mechanical aid to this recording, Sumi Jo sang the whole arias in "Carnaval" in front of millions of French TV viewers and audiences. And the result was: She was technically exactly the same as in the recording. Her live singing was even more touching and impressive! Her "Les Pantins de Violette: La Chanson du canari" was so beautiful that it caused tears from my eyes. And everyone in the audience gave her a long standing ovation!

!!!!!!!!!!!!!!!!!!!!.......1999-09-02

No words could describe the beauty of Jo's voice and her input of emotions in this album. Sentimental, nostalgic and GORGEOUS!!!!!!!!!!!!!!!!!!!!!!! Felt dizzy intoxicated by "Carnaval de Venise".

This recording will knock your socks off..........1999-08-26

Sumi Jo is more than just a soprano but a consummate artist, elegant to her fingertips. Her coloratura ranges from sweet and clear to absolutely thilling, as in the final Carnival de Venise. A few top notes sound thin (noticeable splicing has been used to conclude some of the arias with high notes), but those are little qualms considering her elegant, supple phrasing and perfect diction. In the internationalized climate of the modern opera world, it is reassuring that there are still performers who understand the sensitivity of the French style.

Sumi Jo at her Best!.......1999-08-03

This album is definitely one of the best coloratura recitals on records. Sumi Jo is simply enchanting. She has a voice of great beauty and perfect technique. Her command of trills, roulades and legato line is simply astonishing. Sumi Jo' performance on this recording (a collection of not very known arias from French opera comique) reminds me a lot of Amelita Galli-Curci in her combination of charm and vocal virtuosism. The recording is a delight from start to finish. Among the hightlights are Sevillanas, Charmant oiseaux ( the cadenzas with flute are amazing), the beautiful liricism and stunning high D flat of the aria from Madame Chrysantéme, and of course the Carnival of Venice, a true feast of vocal fireworks. This recording is a must for all the fans of great singing.

Mary Garden: The Complete Victor Recordings (1926-1929)

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Mary Garden: The Complete Victor Recordings (1926-1929)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

General | 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

General | Folk | Styles | Music
ASIN: B000001S3B
Release Date: 1995-11-22

Tracks:

Louise: Depuis Le Jour
At Dawning
Annie Laurie
The Swing
My Ships
Resurrection: Dieu De Grace
Resurrection: Dieu De Grace
Louise: Depuis Le Jour
At Parting
Somewhere A Voice Is Calling
Afton Water
Louise: Depuis Le Jour
In The Gloaming
In The Gloaming
Afton Water
Beau Soir
Clair De Lune
Somewhere A Voice Is Calling
The Lonely Steppe
Carmen: En Vain Pour Eviter
In The Gloaming
Jock O'Hazeldean
Jock O'Hazeldean

Edmond Clément: The Complete Odéon (1905) and Victor (1911-13) Recordings

Average customer rating:

A unique French stylist

Edmond Clément: The Complete Odéon (1905) and Victor (1911-13) Recordings

Manufacturer: Romophone
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

Italian | Languages | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000001S3X
Release Date: 1995-11-22

Customer Reviews:

A unique French stylist.......2005-12-09

Romophone has also issued Clément's later, post World War I Pathés, which are magnificent artistically but less that state-of-the-art technologically. From the standpoint of recording technique, these are Clément's best disks and, thanks to Ward Marston's légerdemain, this unique artist's legacy can be heard as never before.

Edmond Clément (1867-1928) was simply the greatest French lyric tenor. Not that his light, clear voice is particularly remarquable. What IS remarquable is his manner, the wistful poetry of his phrasing, the ineffable taste of his interpretations, that crystal-clear, uncannily poised sense of the French language, every syllable perfectly perched within the musical tone. These records ought to be required listening for all those ill-trained and misdirected modern singers which simply fail to make any contact with this kind of music: it is not the music's fault, but theirs -- and their teachers'.

Average customer rating:

A spectacular debut from an underrated force in music...

Victor Soleil
Victor Soleil
Manufacturer: Catalina
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

Latin Pop | Latin Music | Styles | Music

General | Rock | Styles | Music
ASIN: B0002DB5IG
Release Date: 2004-06-29

Tracks:

Cuando Estoy Contigo
Dme
Cafor la Ma
Te Extra
So
Quiero Mas de Ti
Donde Vas
Despierto Soo
Te Seguir
Por Ti Vencer
I Need You
Dime
Primer Amor

Customer Reviews:

A spectacular debut from an underrated force in music..........2004-11-23

This impressive and eclectic debut from up-and-coming latin-pop star Victor's Soleli is easily one of the most underrated debut records of the year. Released on the indie label Catalina, this solid and memorable collection of songs, complete with a potent combination of infectious pop-rock and masterful balladry, serves as a perfect companion to Soleli's smooth and silky tenor. Stand-out tracks like "Sonar" and the radio single "Te Extrano" demonstrate Soleli's superb songwriting skills and crossover appeal, but it's on the stark and lovely "Primer Amor" where Soleli really shines. Overall, this Soleli proves that he is a force to be reckoned with, and I look to foward to hearing more from this bona fide talent.