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La Flûte Enchantée

Hervé Niquet

Classical - Released April 23, 2021 | Château de Versailles Spectacles

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Mozart : La Flûte enchantée 

Ferenc Fricsay

Full Operas - Released December 25, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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La flûte enchantée

Herbert von Karajan

Stories and Nursery Rhymes - Released November 6, 2013 | Didier Jeunesse

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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

Hi-Res Booklet Distinctions 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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Ibert: Orchestral Works

Neeme Järvi

Symphonies - Released April 1, 2016 | Chandos

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Berlioz: Herminie, Les Nuits d'été / Ravel: Schéhérazade

Véronique Gens

Vocal Music (Secular and Sacred) - Released May 3, 2012 | Ondine

Hi-Res Booklet Distinctions 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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Mozart: La clemenza di Tito

Orchestre de l'Opéra de Rouen Normandie

Classical - Released November 11, 2022 | Alpha Classics

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A connoisseur of Mozart, the brilliant young British conductor Ben Glassberg had originally booked a concert version of La Clemenza di Tito to inaugurate his debut as conductor of the Opera de Rouen Normandie in Autumn 2020. However, the Covid epidemic ultimately put an end to this project.Not wanting to squander all the preparatory work and rehearsals, it was instead decided to make a studio recording. There are no complaints here–this new version (which was produced in just four days) is remarkable in every way. Ben Glassberg's direction is theatrical and inspired, and the cast is simply flawless, with English tenor Nicky Spence shining as the strong and noble Titus. The rest of the cast is equally stellar, featuring the incredible Mozartian singers Simona Šaturová (Vitellia) and Anna Stéphany (Sesto).La Clémence de Titus is Mozart's last opera and was hastily composed at the same time as The Magic Flute. Unfortunately, it doesn’t receive the same recognition, even though it’s full of superb arias that beautifully express the complexity of human emotion, but in the somewhat staid style of the ‘opera seria’. Though that production by the Opera de Rouen Normandie was cancelled, it has resulted in the studio recording of an entire Mozart opera… Every cloud has a silver lining. © François Hudry/Qobuz
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Ravel: Shéhérazade, Le Tombeau de Couperin / Debussy: Danses, 3 Ballades de Villon

Anne Sofie von Otter

Classical - Released January 1, 2002 | Deutsche Grammophon (DG)

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Mozart & Myslivecek Flute Concertos

Ana de la Vega

Concertos - Released June 1, 2018 | PentaTone

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Australian flutist Ana de la Vega, who studied in Paris under Raymond Guiot then under Catherine Cantin—and now goes through a brilliant international career—has chosen two Mozart hits that are his Flute Concertos, but coupled them with a gem of a rare beauty, Josef Mysliveček’s concerto. The name, little known these days, will however feel familiar to the readers of Mozart’s correspondence, because the latter often mentioned his colleague—if only to inform his father that the poor man had gone through a botched surgery leaving him without a nose… In his time, Mysliveček had had a beautiful career as a composer of operas which were held many times in Prague, but also at the San Carlo in Naples and in many other European venues. Unfortunately, after his death as a pauper at the age of forty-three in Rome, he was already forgotten and it only got worse, despite the fact that Mozart tried to have his works played in Salzburg. De la Vega, accompanied by the English Chamber Orchestra, whose reputation has never faltered, allows us to discover this small gem in conditions that could only been dreamed of by Mysliveček. But it is never too late to do things right. © SM/Qobuz
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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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Telemann: Suite en la mineur, Concertos pour flûte à bec, viole de gambe & hautbois baroque

Michel Piguet

Classical - Released January 1, 1972 | Warner Classics

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Wolfgang Amadeus Mozart : Die Zauberflöte (La Flûte enchantée)

Otto Klemperer

Classical - Released January 1, 1964 | Warner Classics

Booklet Distinctions Diapason d'or

Voyage

Marina Rebeka

Vocal Music (Secular and Sacred) - Released September 16, 2022 | Prima Classic

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Some musical objects resist scholarly classifications. Straddling two genres or requiring an unusual membership, they escape the boxes in which we like to lock each score before carefully storing it in a thematic catalogue. The same goes for mélodies composed by French people on foreign texts: should they be considered as French mélodies? Are they losing their French character? Are they even still mélodies or do they become lieder, songs, or any other form specific to the language used? By bringing together works by French musicians composed on French, Russian, German and Italian texts, or in the Tuscan dialect, this album encourages us to make a change of scale, to break the frames and respond to an invitation to travel. Most of the mélodies in this recital were composed between 1860 and 1890, that is to say on the threshold of the Belle Époque and the Second Industrial Revolution. Behind the mirage of national identities, we will perceive a European context conducive to dreams of escape and a cosmopolitanism embodied by great musical figures, such as Henri Duparc, Cécile Chaminade, Maurice Ravel, Camille Saint-Saëns, Charles-Marie Widor, Gabriel Fauré, Charles Gounod, and the extraordinarily talented female composers Marie Jaëll and Pauline Viardot. Marina Rebeka and Mathieu Pordoy approach this eclectic repertoire using a rainbow of musical colors, succeeding indeed in capturing the very essence of each piece. An exquisite album for the musically curious and the armchair traveller alike. © Prima Classic
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Berlioz: Les Nuits d'été & Ravel: Shéhérazade by Régine Crespin

Régine Crespin

Classical - Released May 16, 2023 | Alexandre Bak - Classical Music Reference Recording

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Phidylé

Katerina Kneziková

Opera - Released May 28, 2021 | Supraphon a.s.

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Kateřina Kněžíková's lyric coloratura soprano has delighted audiences in numerous music centres worldwide, both at opera houses and concert venues. She has appeared with the BBC Symphony Orchestra, the Bamberger Symphoniker, Camerata Salzburg, the Czech Philharmonic, the Deutsches Symphonie-Orchester Berlin, the Mahler Chamber Orchestra, etc. under the baton of conductors of such renown as J. Bělohlávek, S. Baudo, M. Honeck, J. Hrůša, T. Netopil and R. Ticciati. The highlights of her career include the invitation to portray the title role in Janáček's opera Katya Kabanova in Glyndebourne. Kateřina Kněžíková's debut Supraphon solo album features enchanting fin de siecle songs, "... songs that are particularly close to my heart and voice, all of them dating from the turn of the 20th century, all of them tinged with Impressionism," as the singer herself put it. The first of them is Bohuslav Martinů's Magic Nights, set to Chinese poetry. Henri Duparc's songs, one of which, depicting Phylidé, a simple and pious country girl, has given the album its title, may come as a revelation to many a listener. All the songs chosen here reflect a penchant for the exotic, foregrounding connection with Nature and intuition. Conducted by Robert Jindra, the Janáček Philharmonic Ostrava has created a splendidly colourful backdrop for Kateřina Kněžíková's soprano to embellish. © Supraphon