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La flûte enchantée
Sigiswald Kuijken
Opera - Released March 9, 2005 | Brilliant Classics
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There is magic in this Die Zauberflöte -- the warmly glowing intonation of La Petite Bande, the pure Pamina of Suzie LeBlanc, the idealized Sorastro of Cornelius Hauptmann, the ardent Tamino of Christoph Genz, the robust Papageno of Stephan Genz, the lovely Papagna of Marie Kuijken, the deeply knowing conducting of Sigiswald Kuijken, even the corny thundercrashes -- but there is also one huge drawback -- the spoken dialogue. The amount of spoken dialogue included has always been a crucial issue for recordings of Die Zauberflöte -- too little and the story is all but incomprehensible, too much and listeners may grow restless waiting for the characters to stop speaking to each other in German, especially if they themselves don't speak German. For the completists and German speakers, Kuijken has included all the spoken dialogue. While this has its charms -- Genz's Papageno's fright is quite convincing -- the dialogue stops the music dead in its tracks every three to five minutes. Depending on the listener, this will either delightfully enhance or fatally detract from what is otherwise a thoroughly beguiling Die Zauberflöte. Amati's sound is deep and clear, but a little reverberant and very live.© TiVo
There is magic in this Die Zauberflöte -- the warmly glowing intonation of La Petite Bande, the pure Pamina of Suzie LeBlanc, the idealized Sorastro of Cornelius Hauptmann, the ardent Tamino of Christoph Genz, the robust Papageno of Stephan Genz, the lovely Papagna of Marie Kuijken, the deeply knowing conducting of Sigiswald Kuijken, even the corny thundercrashes -- but there is also one huge drawback -- the spoken dialogue. The amount of spoken dialogue included has always been a crucial issue for recordings of Die Zauberflöte -- too little and the story is all but incomprehensible, too much and listeners may grow restless waiting for the characters to stop speaking to each other in German, especially if they themselves don't speak German. For the completists and German speakers, Kuijken has included all the spoken dialogue. While this has its charms -- Genz's Papageno's fright is quite convincing -- the dialogue stops the music dead in its tracks every three to five minutes. Depending on the listener, this will either delightfully enhance or fatally detract from what is otherwise a thoroughly beguiling Die Zauberflöte. Amati's sound is deep and clear, but a little reverberant and very live.© TiVo
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Mozart: Die Zauberflöte, K. 620
La Petite Bande
Classical - Released March 9, 2005 | Brilliant Classics
There is magic in this Die Zauberflöte -- the warmly glowing intonation of La Petite Bande, the pure Pamina of Suzie LeBlanc, the idealized Sorastro of Cornelius Hauptmann, the ardent Tamino of Christoph Genz, the robust Papageno of Stephan Genz, the lovely Papagna of Marie Kuijken, the deeply knowing conducting of Sigiswald Kuijken, even the corny thundercrashes -- but there is also one huge drawback -- the spoken dialogue. The amount of spoken dialogue included has always been a crucial issue for recordings of Die Zauberflöte -- too little and the story is all but incomprehensible, too much and listeners may grow restless waiting for the characters to stop speaking to each other in German, especially if they themselves don't speak German. For the completists and German speakers, Kuijken has included all the spoken dialogue. While this has its charms -- Genz's Papageno's fright is quite convincing -- the dialogue stops the music dead in its tracks every three to five minutes. Depending on the listener, this will either delightfully enhance or fatally detract from what is otherwise a thoroughly beguiling Die Zauberflöte. Amati's sound is deep and clear, but a little reverberant and very live.© TiVo
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La Flûte Enchantée
Hervé Niquet
Classical - Released April 23, 2021 | Château de Versailles Spectacles
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La flûte enchantée
Herbert von Karajan
Stories and Nursery Rhymes - Released November 6, 2013 | Didier Jeunesse
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Mozart: Zaide
The Academy of Ancient Music / Paul Goodwin
Opera - Released April 13, 1998 | harmonia mundi
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Berlioz: Les nuits d'été, Op. 7, H 81b - Ravel: Shéhérazade, M. 41 - Saint-Saëns: Mélodies persanes, Op. 26
Marie-Nicole Lemieux
Classical - Released September 29, 2023 | Warner Classics
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This is a nicely programmed album consisting of French song cycles spaced several decades apart from the 19th and early 20th centuries. One of them, the Mélodies Persanes ("Persian Songs") of Saint-Saëns, is not a common item; with its bouncy text-setting, nobody would compare it to the deep Eastern influences woven into various Ravel works, but then, Ravel was inspired to execute those by listening to Saint-Saëns. In Berlioz's Les nuits d'été and Ravel's Shéhérazade, contralto Marie-Nicole Lemieux has plenty of competition, but there is less for the Saint-Saëns. Another attraction is the work of the Orchestre Philharmonique de Monte-Carlo under conductor Kazumi Yamada, neither a household name. The group is velvety smooth in the Berlioz cycle, with quiet and perfectly controlled string sound throughout. The strings match the voice of Lemieux beautifully; both have a luxuriance that fits the extravagantly Romantic texts of the Berlioz. So, everything is in place here, and listeners' reactions to the whole are likely to come down to their feelings about Lemieux's voice itself. It has a rapid, confident vibrato that is remarkably pitch-accurate as it moves up and down within her range. To these ears, it is beautiful. It also doesn't vary much according to the text; the Saint-Saëns songs and Ravel's Asie, which are intended to evoke exotic melodic traits, sound much like the Berlioz. A bit of sampling will likely determine one's enjoyment of the album in general, and there are certainly many things to like here.© James Manheim /TiVo
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El Nour
Fatma Said
Classical - Released October 16, 2020 | Warner Classics
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Qobuzissime
"Vieux pays merveilleux des contes de nourrice" (‘Old marvellous land of nursery tales’): These few words describe the irresistible and striking interpretation of Ravel's Shéhérazade, now of a bygone era. The timbral lows and highs radiate from Egyptian soprano Fatma Said’s voice. Her exemplary diction shines. Each word is intelligible and each sound exists to colour the word, emphasising its meaning. Nobody would have thought that the singer’s extremely versatile musicality – reminiscent of Regine Crespin’s vibrant performances – would find an even greater versatility in the orchestral version, with Malcolm Martineau’s beautifully timbred and precise piano occasionally slowing things down.The program completely immerses itself in Spain, with Rafael Aguirre’s subtle guitar substituting itself for Martineau’s piano. Other facets of Fatma Said’s voice are her musical agility and ethereal spirit, which are revealed in the two Falla pieces. The Canción de Marinela by José Serrano, where her voice thickens, will remain an unforgettable moment of sweet sensuality. It's easy to start dreaming of Said exploring some other roles in zarzuelas, for which she would be divine! The three songs by Federico García Lorca, excerpts of the 13 Canciones españolas antiguas, are rather modest and of a noble elegance, even in the carnal arabesques of Nana de Sevilla. This is the perfect transition for the ‘Arabic’ songs that Fatma Said chooses next.She introduces, for example, a pretty melody from Egyptian composer Gamal Abdel-Rahim (1924-1988), before flying off into the gorgeous Adieux de l’hôtesse arabe by Bizet where Burcu Karadağ's nev (a sort of reed flute) improvises in counterpoint alongside the vocals. The last four pieces return to the Egyptian and Lebanese standards, in a jazzy and nostalgic atmosphere. This is a captivating album with overwhelming emotion! © Pierre-Yves Lascar/Qobuz
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Bach : St Matthew Passion (Matthäus-Passion)
René Jacobs
Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi
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Choc de Classica -
Choc Classica de l'année
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Berlioz: Herminie, Les Nuits d'été / Ravel: Schéhérazade
Véronique Gens
Vocal Music (Secular and Sacred) - Released May 3, 2012 | Ondine
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4F de Télérama -
4 étoiles Classica -
La Clef du mois RESMUSICA
The vocal works of Hector Berlioz are less familiar than his gigantic orchestral pieces, but in the right hands they're delightful. This release by French soprano Véronique Gens, who is at the absolute peak of her powers, has all you could ask. It has the sheer creamy goodness of Gens' voice, made still tastier by her obvious enthusiasm for the likes of Ravel's Asie (Asia) from the Shéhérazade set. It offers a distinction from earlier traversals of the same material: the song cycle Les Nuits d'été (Summer Nights), especially, has been the province of big dramatic sopranos, but Gens' reading is more chamber-sized, and indeed more in line with the medium-sized halls Berlioz would have known in material of this kind. The album has a novel item: the early Berlioz cantata Herminie, written in 1828 as one of his unsuccessful attempts to capture the Prix de Rome. (He finally succeeded with Sardanapale in 1830.) The music of this piece has links to the Symphonie fantastique, and in general it has the fearlessly showy lyricism that makes the music of the young Berlioz so attractive. The album boasts excellent orchestral support from the Orchestre National des Pays de la Loire under conductor John Axelrod, who fully merits his full-page picture in the CD version's booklet. Sound ideally suited to the dimensions of Gens' voice is just a bonus by this time. This is state-of-the-art Berlioz (and Ravel).
© TiVo
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Zauberoper - Mozart, Haydn, Salieri
Konstantin Krimmel
Classical - Released October 7, 2022 | Alpha Classics
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Following his acclaimed first recording for Alpha Classics, "Saga", the German baritone Konstantin Krimmel continues to tell us stories, with a programme focusing on "Zauberoper" (or "magic opera"). Accompanied by the Hofkapelle München orchestra conducted by Rüdiger Lotter, Krimmel explores operas by Mozart (Der Stein der Weisen), Salieri (La grotta di Trofonio) and Haydn (L'Anima del filosofo, Orlando Paladino), alongside less well-known titles by Paul Wranitzky (Oberon) and Peter von Winter: spectacular musical comedies from the eighteenth-century Viennese repertory, with their enchanted fairytale universe. © Alpha Classics
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Amadè
Julie Fuchs
Classical - Released November 18, 2022 | Sony Classical
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Mahler: Symphony No. 3 & Lieder (Les indispensables de Diapason)
Leonard Bernstein
Symphonic Music - Released June 30, 2023 | Les Indispensables de Diapason
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Schütz: Musikalische Exequien
La Chapelle Royale, Philippe Herreweghe
Masses, Passions, Requiems - Released November 6, 2007 | harmonia mundi
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Die Zauberflöte / The Magic Flute
Wiener Philharmonic Orchestra
Classical - Released March 3, 2023 | Profil
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Passions de l'âme et du cœur
Ricercar Consort
Classical - Released January 12, 2015 | Mirare
Booklet
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Ravel: Shéhérazade - Berlioz: Les Nuits d'été
Sir John Barbirolli
Classical - Released February 22, 2019 | Warner Classics
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O Jesulein... A German Baroque Christmas Oratorio
Clematis
Classical - Released October 14, 2022 | Ricercar
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This innovative programme presents an imaginary Christmas oratorio made up of works by German composers of the 17th century. Many of these works are unpublished and come from the splendid Düben Collection in the library of the University of Uppsala; they are arranged here in a sequence that introduces the scenes and the principal characters of the Nativity: Mary, Joseph, the Archangel Gabriel, the angels, the shepherds, the Magi and Simeon. These works belong to the genre of the "historia sacra" and depict the dialogue of the Annunciation between the archangel Gabriel and Mary, the arrival of the Magi - guided by angels - at the manger, and the scene where Mary and Joseph look for Jesus in the Temple. These narrative scenes stand in contrast to the large ensembles that represent the angelic host, the shepherds, and the adoring multitudes before the manger. The instruments also play an important role in this celebration with their contrasting timbres. This recording features works by Andreas Hammerschmidt, Wolfgang Carl Briegel, Christian Flor, Christoph Bernhard, Heinrich Schütz, Franz Tunder, David Pohle, and Thomas Selle. © Ricercar
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Accentus: The a capella Recordings
Accentus
Classical - Released December 9, 2016 | naïve classique
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Rencontre
Raquel Camarinha, Yoan Héreau
Classical - Released September 28, 2018 | naïve classique
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Van Gogh in Me
Peter Dijkstra
Classical - Released October 7, 2022 | Alpha Classics
Hi-Res
Booklet
With "Van Gogh in Me", the Netherlands Chamber Choir presents an experience in which the paintings of Vincent Van Gogh and Gustav Klimt come to life to the music of the great Romantic and early 20th century composers such as Debussy, Saint-Saëns, Mahler... and, in a world premiere, a transcription for a cappella choir of Satie's first Gymnopédie. Originally written for solo piano, this work, which is known and played throughout the world, finds a new magical and celestial dimension in this new version for choir. Mentioning the name of Van Gogh immediately evokes in each of us a colour, a landscape, a sensation... Hence the idea of creating an immersive audiovisual experience: the choir approached an Italian collective, fuse*, to link images and sounds to the emotions of the musicians and the audience... fuse* developed an algorithm based on the works of Van Gogh and Klimt by recording their styles, colours, brushstrokes... then, during the concert, collects the sound of the choir but also biometric data that analyses the emotional state of the audience, the singers and the conductor, and creates visuals in real time, an astonishing show of colours and shapes that mixes sound, images and emotions... The visual of the album is inspired by these experiments. © Alpha Classics
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