01 Roméo et Juliette / Act 1: "Ah, je veux vivre" 3:31 	
02 Fortunio: L'orsque j'etais enfant 	2:15 	
03 L'Amour masqué - operetta: J'ai deux amants 3:08 	
04 Les filles de Cadix - original version 	5:17 	
05 Lakmé / Act 1: Viens, Mallika, ... Dôme épais (Flower Duet) 	5:40 	
06 Lakmé / Act 2: Où va la jeune Indoue (Bell song) 	6:14 	
07 Manon / Act 2: Adieu, notre petite table 2:18		play 	
08 Manon / Act 3: Je marche sur les chemins 5:24 	
09 Cendrillon - opera in 4 acts / Act 1: Ah! douce enfant, ta plainte légère (Air de la fée) 8:34 	
10 Les Contes d'Hoffmann / Act 2: "Les oiseaux dans la charmille" 6:40 	
11 Les Contes d'Hoffmann / Act 4: Entr'acte (Barcarolle) - "Messieurs, silence!" - "Belle nuit, ô nuit d'amour" 3:33 	
12 L'Etoile: Romance de l'etoile 3:50 	
13 L'Etoile: Enfin je me sens mieux (Couplets de Lazuli) 1:28	play 	

Patricia Petibon – soprano
Orchestre De L'Opera National De Lyon
Yves Abel – conductor

Just before the CD stops she smothers us with slobby kisses, and that is not even the most weird part of this exceedingly strange and extremely fascinating collection of French opera arias, sung, bubbled, gurgled and I know what not by opera's answer to pop music's Björk. It's going to take a while for me to tire of her, I think, but when I do I'm probably going to hate her, she's that kind of idiosyncratic performer. Coloratura soprano Petibon is so decidedly Gallic and she firmly believes that anything is allowed, that you OWN the music if you're musical enough, and if you love the music enough. Never has the world heard an Olympia doll like hers from 'Contes Hoffmann', cascading, beeping like something out of Microsoft, gurglin, cooing and just plain camping it up!

But is it allowed?, you might ask timidly. Let's just say that it would be stifling to try to fence in the vivacious Miss Petibon. Just listen to Lady Eversharp's wacky couplets from Reynaldo Hahn's 'Brummel', sung in a thick Midwestern US accent, including notes that are positively and hilariously flat!

But oh, can she do the 'serious' stuff as well. Here she sings 'Je veux vivre' with bubbly classical joi-de-vivre from Gounod's 'Romeo & Juliet', a very touching 'Adieu, petite table' from Massenet's 'Manon', an exuberant Echo Aria from Delibes' 'Lakmé'! What a wonderful recording, but beware - you might not warm to it at all, if you have a puritan streak in you. ---Michael Bo (Frederiksberg Denmark)

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Antonio Sartorio (1630-1680) 
 - Quando voglio
 - Orfeo, tu dormi
Alessandro Stradella (1639-1682) 
 - Queste Lagrime E Sospiri
George Frideric Handel (1685-1759)
 - Tornami A Vagheggiar
 - Lascia Ch'io Pianga
 - Volate, amori
 - Piangerò la sorte mia
 - Ah! mio cor, schernito sei!
 - Neghittosi, Or Voi Che Fate?
Alessandro Scarlatti (1660-1725)
  - Se Il Mio Dolor T'Offende
  - Caldo Sangue
Nicola Porpora (1686-1768)
 - Morte Amara
Antonio Vivaldi (1678-1741)
 - Siam Navi All'onde Algenti
Benedetto Marcello (1686-1739)
 - Come Mai Puoi Vedermi Piangere?

Patricia Petibon - soprano
Venice Baroque Orchestra
Andrea Marcon – conductor

Patricia Petibon, admired for her command of Baroque style, records her first album of Italian Baroque arias partnered by Andrea Marcon and the Venice Baroque Orchestra. Saluted by the International Record Review for her "rare ability to inject into her performance vocal characterizations which...nullify the need to see these operatic characters in the flesh," Rosso frames Petibon's gift of transformation by purely vocal means. Petibon's keen interpretive intelligence and gleaming tone summon into vivid life a wealth of characters tangled up in the power plays of gods, kings, witches, and devils. Rosso mixes beloved Handel airs like "Lascia ch'io pianga" with newly discovered arias by his contemporaries and predecessors. Sartorio's "Quando voglio" and Porpora's floating "Morte amara" are potential hits. ---Editorial Reviews

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1. Haydn - Il Mondo Della Luna - Ragion nell'alma siede 		
2. Mozart - Vorrei spiegarvi, oh Dio, K.418 		
3. Mozart - Der Hölle Rache kocht in meinem Herzen 		
4. Mozart - L'ho perduta... me meschina!		play 		
5. Mozart - Deh vieni, non tardar 		
6. Mozart - Vanne. T'affretta ... Ah se il crudel periglio 		
7. Mozart - Fra i pensier piu` funesti di morte 		
8. Haydn - Salamelica (Scene 4) 		
9. Gluck - 29. Venez, secondez mes désirs 		
10. Haydn - Odio, furor, dispetto		play 		
11. Haydn - Dell mio core il voto estremo (Euridice) 		
12. Haydn - Fra un dolce deliro 		
13. Gluck - Sce`ne 1. Récitatif. Non, cet affreux devoir 		
14. 30. Ah! Si la liberté me doit etre ravie 		
15. Mozart - Tiger! wetze nur die Klauen 		
16. Gluck - Le perfide Renaud ... Quand le barbare

Patricia Petibon – soprano
Concerto Köln
Daniel Harding – conductor

This album's title, Amoureuses, refers to operatic characters who are motivated by some aspect of love, from its purest romantic form to its more warped distortion. The characters come from works by three of the greatest composers of the Classical era, Mozart, Haydn, and Gluck. French soprano Patricia Petibon has a voice of piercing purity, sparkling silvery lightness, and dazzling agility. Her range is unusually wide, so that she can easily handle roles for both high coloratura and lyric soprano, serenely floating or darting madly about high above the staff or plunging with full strength to the depths of the soprano register. The range of arias shows not only her musical scope, including both the warmly lyric and the most outrageously demanding coloratura, but a thoughtfulness and emotional honesty that demonstrate real dramatic breadth, to the extent that she's willing to sound less than absolutely lovely when the drama demands it. The arias range from Susanna's Deh vieni, non tardar and Barbarina's L'ho perduta to the Queen of the Night's Der Hölle Rache, but the bulk of the album is made up of repertoire that's far more obscure, and it's in some of these less familiar arias that Petibon makes the strongest impression. Mozart is represented by his insertion aria, Vorrei spiegarvi, oh Dio!, and arias from Lucio Silla and Zaide, Gluck by arias from two operas, and Haydn by arias from five. Salamelica, Semprugna cara, from Haydn's Lo Speziale is a marvel of comic eccentricity, and Eurydice's death scene from his L'anima del filosofo ossia Orfeo ed Euridice showcases the singer's gift for lyrically sustaining long lines. The passion that erupts in the aria from Zaide, and in the Gluck scene from Armide that ends the album, is nothing short of astonishing. Daniel Harding leads Concerto Köln in a refined and spirited accompaniment that is keenly geared to matching Petibon's interpretations. Deutsche Grammophon's sound is clear and clean, with good balance. ---Stephen Eddins, All Music Guide

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