Classical

Natalie Dessay - Mad Scenes (2009)

2017-08-11T14:45:52Z

Natalie Dessay - Mad Scenes (2009)


1 Gaetano Donizetti - Lucie Di Lammermoor: Mon Nom S'est Fait Entendre...	17:20

Lucie – Natalie Dessay
Ashton – Ludovic Tézier
Raymond – Nocolas Cavallier
Orchestre & Chœurs de l'Opéra de Lyon
Conductor – Evelino Pidò

2 Vincenzo Bellini - I Puritani: O Rendetemi La Speme...		16:34

Elvira – Natalie Dessay
Riccardo – Franck Ferrari
Giorgio – Matthew Rose
Concerto Köln
Conductor – Evelino Pidò

3 Ambroise Thomas - Hamlet: A Vos Jeux Mes Amis	13:26

Ophélie – Natalie Dessay
Orchestre National du Capitole de Toulouse
Conductor – Michel Plasson

4 Leonard Bernstein - Candide: Glitter And Be Gay	5:47

Cunegonde – Natalie Dessay
London Philharmonic Orchestra
Conductor – Andrew Davis

5 Giacomo Meyerbeer - Le Pardon De Ploermel: Ombre Légère		7:49

Dinorah – Natalie Dessay
Orchestre Philharmonique de Monte-Carlo
Conductor – Patrick Fournillier

6 Gaetano Donizetti - Lucia Di Lammermoor: Il Dolce Suono...	16:38

Lucia – Natalie Dessay
Enrico – Franck Ferrari
Raimondo – Matthew Rose
Normanno – Wolfgang Klose
Concerto Köln
Conductor – Evelino Pidò

Natalie Dessay's collection of coloratura mad scenes from Italian, French, and American opera is culled from a variety of previous high-profile releases of recitals and complete operas, so avid fans of the soprano aren't likely to find new performances here, except perhaps Glitter and be gay, from Candide, from the 1997 EMI disc Centenary Gala at Glyndebourne. This disc makes an excellent introduction for listeners new to Dessay, though. It highlights her acute dramatic gifts, both tragic and comic, and her characteristic gleaming purity, agile flexibility, and focused musicality are evident throughout. While comic arias aren't generally considered mad scenes, the Bernstein perhaps qualifies for expressing a different kind of madness, and Dessay's riotous performance is deliriously and deliciously over the top. One of the most interesting things about the album is the inclusion of Lucia's mad scene from both the Italian and French versions of the opera, both conducted by Evelino Pidò, the French from a 2002 recording of the complete opera, and the Italian from 2007 recital.

Dessay is in top form in both performances (even though the first was made just prior to the vocal difficulties that required surgery). The 2007 version ultimately makes a stronger impression, though, because Dessay's characterization has matured, and this Lucia seems more deeply tragic. Also, the use of a glass harmonica, instead of the flutes that replace it in most modern performance, provides a distinctive ghostly halo that makes a tremendous difference in the tone of the scene. Pidò, who leads Concerto Köln on three tracks, offers an especially attentive and sensitive accompaniment. The ambience of the sound varies between tracks because of the diverse sources of the recordings, but it is never less than very fine. ---Stephen Eddins, AllMusic Review

Going mad on stage necessarily involves making a frightful racket, unlike the crushing, often silent insanity of real life.

Here is Natalie Dessay to prove it with half a dozen demonstrations from operas such as Donizetti’s Lucia di Lammermoor, Bellini’s I Puritani, Verdi’s Hamlet, Bernstein’s Candide and Meyerbeer’s Le Pardon de Ploërmel. The liner notes provide a kind of potted analysis of each of the French soprano’s subjects, in case we think all madnesses are identical. Given the form she displays, we expect Dessay’s voice to be all over the place at a moment’s notice, but there it is, on the note every time. Are there any operas in which the heroine’s madness is anything other than deeply tragic?

Donizetti was one composer who should know, starting and ending this CD with the two longest items on it, but finding only anguish for Dessay to sing about, even though she is allowed two minutes longer to keep looking than she is credited with in the notes. One listener’s sparkling coloratura is another listener’s silly noises, proving that a singer can have more control over their voice than they know what to usefully do with.

But the rather debatable attraction of hearing the drama of over-the-top theatrical madness has been determined to be the selling point of this CD, and it is unlikely that any soprano around could take the vocal gymnastics further than Dessay. A long CD’s worth of music to be bought, admired and respected, but perhaps not exactly enjoyed. ---Ken Page, limelightmagazine.com.au

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Natalie Dessay - The Miracle of the Voice (2007)

2010-12-27T20:21:56Z

Natalie Dessay - The Miracle of the Voice (2007)

Disc: 1
1. Delibes: Lakmé- Où va la jeune hindoue (Bell song)
2. Offenbach: Les Contes d'Hoffmann- Les oiseaux dans la
3. Meyerbeer: Le Pardon de Ploërmel- Ombre légère4-5.            
4. Gounod: Roméo et Juliette- Ah! Je veux vivre dans le
5. Chabrier: Le Roi melgré lui- Il est un vieux chant de
6. Donizetti: La Fille du régiment- Salut à la France9-12.
7. Offenbach: Orphée aux Enfers- Duo de la mouche
8. Offenbach: Robinson Crusoë- Conduisez-mois vers celui      play

Disc: 2
1. Mozart: Popoli di Tessaglia!                                play
2. Handel: Delirio amoroso- Per te lasciai la luce
3. R. Straus: Ariadne auf Naxos- Groβmachtige Prinzessin
4. J. Strauss: Frühlingsstimmenwalzer
5. Rachmaninov: Vocalise
6. Alabiev: Salavieï (The Nightingale)
7. StravinskY: Le Rossignol- Song of the Nightingale            play
8. Ave Maria from the original soundtrack of the film `Merry
9. Monk/Nougaro: `Round Midnight'
10. Bernstein: Candide- Glitter and be gay

French soprano Natalie Dessay is one the stars of today’s operatic world, thrilling audiences as both a singer and an actress. Now an admired interpreter of bel canto and lyric heroines such as Lucia di Lammermoor, Marie (La Fille du régiment), Amina (La sonnambula), Pamina (Die Zauberflöte), Manon, Juliette and Ophélie (Hamlet), Dessay originally made her reputation with showpiece coloratura roles such as Offenbach’s Olympia, Mozart’s Queen of the Night and Strauss’ Zerbinetta. Born in Lyon, Natalie Dessay grew up in Bordeaux. She first dreamed of becoming a dancer, but later studied acting and singing at the Bordeaux Conservatoire. She progressed with extraordinary rapidity, completing five years’ worth of study in just one year and graduating with First Prize at the age of twenty. In 1989, after a brief period in the chorus of the Théâtre du Capitole de Toulouse, she entered France’s first Concours des Voix nouvelles and won second prize. This led to further studies at the Paris Opéra and to her first major engagements as a soloist.

In 1992 she sang her first Olympia in Offenbach’s Contes d’Hoffmann at Paris’s Opéra Bastille in a staging by Roman Polanski. The next year she was invited to the Vienna Staatsoper to sing Blondchen (Die Entführung aus dem Serail). In 1993 she was Olympia in the opening production for the rebuilt Opéra de Lyon and by 2001 she had performed the role in eight different stagings, including her debut appearance at La Scala. The 1990s also brought the Queen of the Night at Aix-en-Provence, Ophélie (Hamlet) in Geneva (she also sang the role at London’s Royal Opera House and at Barceona’s Liceo in 2003, where the production was filmed for a Virgin Classics DVD), Aminta (Die schweigsame Frau) in Vienna, Fiakermilli (Arabella) for her debut at the New York Met – followed by Olympia and Zerbinetta, Lakmé at the Opéra Comique – a role she recorded for EMI Classics with Michel Plasson, Eurydice in Offenbach’s Orphée aux Enfers in Lyon (recorded for EMI Classics), and, in Paris, Morgana in Handel’s Alcina and the title role in Stravinsky’s Le Rossignol (also to be seen on a Virgin Classics DVD). Conductors for these appearances included Pierre Boulez, James Levine, James Conlon, William Christie and Marc Minkowski.

In 2001 the soprano’s career entered a new phase when she realised a long-held ambition to perform Donizetti’s Lucia di Lammermoor, a role she subsequently sang in 2004 in Chicago, in 2006 at the Bastille in a powerful staging by Andrei Serban, and in a new production for the opening of the New York Met’s 2007-8 season. She also recorded the French version of the opera for Virgin Classics. More Donizetti, La Fille du régiment, provided a triumph for her in 2007 in Laurent Pelly’s witty staging in both London and Vienna. Her first appearance as Bellini’s La sonnambula came in 1998 in Lausanne, followed by performances in Bordeaux, La Scala, Vienna (with Juan Diego Florez), Santa Fe and her more recent interpretation of Amina was recorded during concert performances in Lyon in November 2006, for release by Virgin Classics in autumn 2007. 2004 also brought her debut as Massenet’s Manon in Geneva; in autumn 2007 Virgin Classics releases a DVD of David McVicar’s production from Barcelona, for which she is joined by Rolando Villazón as des Grieux.

Dessay signed her first exclusive contract with EMI Classics/Virgin Classics in 1994 and, in addition to the recordings already mentioned, her catalogue includes discs of Mozart (a collection of concert arias, another of opera arias and his Mass in C minor), songs and arias by Strauss, works by Handel and Monteverdi, and collections of French arias and Vocalises. Her 2-CD and DVD compilations “Le Miracle d’une voix” have proved an enormous success, selling over 250,000 copies, each documenting her prowess as a singer and as an actress. Further to this autumn’s releases of La sonnambula , Massenet’s Manon on DVD and, with Emmanuelle Haïm & Le Concert d’Astrée, Bach’s Magnificat & Handel’s Dixit Dominus, Natalie Dessay will release this coming winter a recital album of Italian Opera Arias by Bellini, Donizetti and Verdi with the Concerto Köln, under the direction of Evelino Pidò.

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Natalie Dessay – Handel – Delirio (2006)

2009-10-25T09:59:17Z

Natalie Dessay – Handel – Delirio (2006)


01. Il Delirio Amoroso: Introduzione
02. Il Delirio Amoroso: Recitative: Da quel Giorno Fatale
03. Il Delirio Amoroso: Aria (allegro): Un pensiero voli in ciel
04. Il Delirio Amoroso: Recitative: Ma fermati pensier
05. Il Delirio Amoroso: Aria: Per te lasciai la luce
06. Il Delirio Amoroso: Recitative: non ti bastava ingrato
07. Il Delirio Amoroso: Aria: Lascia omai le brune vele
08. Il Delirio Amoroso: Recitative: Ma siamo giunti in Lete
09. Il Delirio Amoroso: Entree
10. Il Delirio Amoroso: Minuet: Inquesto a mene piaggie serene
11. Il Delirio Amoroso: Recitative: Si disse Clori
12. Il Delirio Amoroso: Minuet
13. Aci, Galatea e Polifemo: Aria: Qui l'augel da pianta in pianta lieto vola (Aci)
14. Mi palpita il cor: Adagio: Mi palpita il cor
15. Mi palpita il cor: Allegro: Agitata e l'alma mia
16. Mi palpita il cor: Recitativo: Tormento e gelosia
17. Mi palpita il cor: Aria (Largo): Ho tanti affanni in petto
18. Mi palpita il cor: Recitativo: Clori dite mi lagno
19. Mi palpita il cor: Aria (Allegro): S'un di m'adora la mia crudele

Natalie Dessay – soprano
Le Concert  d’Astree
Emanuelle Haim – conductor

Two decades ago Handel's early Italian-language cantatas were little known, but sopranos have discovered that they provide a top-level vocal workout while offering more than a hint of the mature Handel's genius. This disc by French singer Natalie Dessay, one of the hottest sopranos on the scene, is going to be hard to beat. Dessay shares the credit with the period-instrument ensemble Le Concert d'Astrée and its conductor Emmanuelle Haïm, who has been turning out one groundbreaking Baroque disc after another.

Dessay and Haïm grasp the young Handel's compositional personality perfectly. These are works by a ferocious new talent, recently moved from conservative northern Germany to Italy, with its wealth of extreme vocalists, including castrati (for whom these cantatas were probably originally written). The music is full of fiery vocal ornaments, high energy, and enough daring dissonances to make the audience sit up and take notice. Dessay is in control of even the toughest long runs, and better still, she forges a vocal language to match the sharp accents and tense phrase shaping Haïm gets from her instrumentalists in the two Italian cantatas on the theme of love fulfilled and frustrated -- even in the midst of all the vocal action, Dessay manages a tight little crescendo on many of the long notes.

With the long, lonely pastoral aria "Qui l'augel da pianta in pianta," from the cantata Aci, Galatea, e Polifemo, things go from very fine to sublime. Dessay shapes these 11 minutes of music as a single long breath. She sings quietly at the very top of her range, with unbelievable warm intensity. She interacts with the solo oboe and violin as if they were all part of some cosmic dance, so closely attuned that she almost justifies the bizarre half-and-half photo of her face merged with Haïm's in the liner booklet. The slow Baroque aria of lost love does not get any sweeter than this. An extraordinary vocal recording, with all the forces cooperating to bring to life music that everyone ought to know. ---James Manheim, Rovi

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Natalie Dessay – Vocalises (1998)

2010-03-18T18:30:57Z

Natalie Dessay – Vocalises (1998)


1. Vocalise, song for voice & piano, Op. 34/14: No. 14 Vocalise (Rachmaninov)
2. The Nightingale (Salaviei), for voice & piano (Alyabyev)
3. Le Rossignol, song for voice & piano (Camille Saint-Saëns)
4. Les Filles de Cadix, bolero for voice & piano (or orchestra) (Léo Delibes)
5. Vocalise-Étude en forme de Habanera, for voice & piano (Maurice Ravel)
6. Goyescas (Dandies in Love), pieces (6) in 2 books for piano, H. 64, DLR 2:4: No. 4, Le Maja y el Ruisenor  (Enriqué Granados)
7. Deh, torna, mio bene, theme and variations for voice & accompaniment, Op. 164 (Heinrich Proch)
8. La Villanelle for voice & piano (or orchestra) (Eva Dell'Acqua) 
9. Concerto for Coloratura Soprano & Orchestra, Op. 82: Andante (Reinhold Glière)
10. Concerto for Coloratura Soprano & Orchestra, Op. 82: Allegro (Reinhold Glière)
11. Frühlingsstimmen (Voices of Spring), waltz for orchestra (with voice ad lib), Op. 410 (RV 410) (Johann Strauss II)

Natalie Dessay – soprano
Richard Waage – flute
Berliner Sinfonie-Orchester
Michael Schonwandt – conductor

This is a wonderful collection of coloratura pieces. Dessay is tremendous technically, and, though the voice can be a bit thin at times, she is absolutely stunning in this repertoire. As a coloratura-in-training, I am listen in awe as Dessay fools her audience into thinking this is simple stuff! While it may seem to be on the verge of heresey, I much prefer Dessay to Joan Sutherland (though she is indeed La Stupenda) and even enjoy listening to her over Sills. The reviews which comment on Dessay seeming to have a less-than solid sound and comparing her to Fleming may be forgetting that this type of literature cannot afford to sound weighty, nor can the voice perform optimally with a weight up in the rafters! Though I think Fleming is a fine singer, I personally prefer listening to Dessay, and I certainly learn more from the experience. This is an incredible album and a true accomplishment. Also, if Dessay is your cup of tea, check out the recording of Lakme with Dessay in the title role-wow! ---"puccinigirl", amazon.com

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