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Aeterna
Natalie Choquette
Pop - Released January 1, 2006 | Jade
Soprano Natalie Choquette is equally known for her operatic singing and her comedy routines, and she has had considerable success with her entertaining show with symphony orchestra, Who Ever Said Opera Was Boring? However, Choquette's award-winning album Æterna, released on the Canadian ZYX label, is an unexpectedly reverent turn for this vivacious diva/comedienne, yet disappointingly typical for an inspirational vocal collection. The program is for the most part predictable, with many of the most familiar Christian songs and arias of all time presented in polished arrangements for choir and chamber orchestra by Éric Lagacé, Choquette's husband, and feature her as soloist and in duets with alto Noëlla Huet or with her daughter, Éléonore Lagacé. The disc won the Félix Award for Classical Album of the Year, no doubt because it is the kind of popular spiritual music that appeals to a lay audience without challenging expectations. However, as lovely as Choquette's solos usually are, as pretty as the music often is, and as sincere as the performances seem, this album is really just a greatest sacred hits compilation that has few high points to recommend it. The "Pie Jesu" from Gabriel Fauré's Requiem, touchingly performed by Choquette, is far and away the best track, and it should have obviated Andrew Lloyd Webber's vapid Pie Jesu, which early on blemishes the album; the soothing "Pater Noster" by Nicolas Kedroff is a welcome rarity that brings an Eastern Orthodox flavor to the proceedings; and Raynald Arseneault's stark "Alléluia" brings a much-needed somber tone to this generally innocuous collection. The audio is fine on most of these performances, but there are some tracks that seem unnecessarily boosted and bass heavy.© TiVo
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Nougaro : Sur l'écran noir de mes nuits blanches
Natalie Dessay
French Music - Released November 15, 2019 | Sony Classical
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Claude Debussy : "Clair de lune" (Mélodies - La Damoiselle élue)
Natalie Dessay
Classical - Released February 6, 2012 | Warner Classics
Booklet
Distinctions
4F de Télérama -
4 étoiles Classica
Natalie Dessay has an instinctive understanding of Debussy's idiom and a combination of passion and delicacy that makes her an ideal interpreter of the composer's distinctive vocal style. In this recording, made in 2011, Dessay's voice doesn't always convey the supple ease floating above the staff that characterized her work around the turn of the century. She sounds terrific when she can cut loose with exuberance and plenty of volume, as in Flôts, palmes, sables. It's her in her approach to the upper register at a quiet dynamic level that she comes across as less secure. Those moments are few, though, and overall Dessay's singing is beguilingly sensuous and her insights illuminating. One of the chief attractions of the albums is the inclusion of the premiere recordings of four songs unpublished songs Debussy wrote when he was 20, that had only recently come to light. They fit seamlessly into the composer's song output and are likely to become standards on Debussy song recitals. The most distinctive is the ballad, Les elfes, the composer's longest song and one of his most dramatic, which makes extreme coloratura demands and has a wonderfully eccentric piano part. The album also includes La Damoiselle élue, a cantata using a translation of a poem by Dante Gabriel Rosetti, for soprano, mezzo-soprano, women's choir, and piano.Pianist Philippe Cassard is a fully equal collaborator in the endeavor and brings an acute sensitivity and intelligence to the accompaniment. Mezzo-soprano Karine Deshayes and Le jeune chœur de Paris deliver lovely performances in the pastel-hued cantata. Virgin Classics' sound has a warm, natural ambience, excellent balance, and is clean and clear.© TiVo
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