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Vocale muziek (wereldlijk en religieus) - Verschenen op 9 juni 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Klassik
After an album of French songs (Néère) that earned her a "Gramophone Award" in 2016, Véronique Gens presents her new recital, this time with orchestra, which gives her an opportunity to display the maturity of her ‘Falcon’ soprano, the central tessitura typical of French Romantic opera, which takes its name from Cornélie Falcon, who created the works of Meyerbeer and Halévy staged in the 1830s. She pays tribute here to a number of composers whose unknown operas she was the first to reveal in projects mounted by the Palazzetto Bru Zane, including David, Godard, Saint-Saëns and Halévy. The programme selects arias from all the genres in vogue in the Romantic era: opera (Saint-Saëns, Halévy, Godard, Février), opéra-comique (David), oratorio (Franck, Massenet) and the cantata for the Prix de Rome (Bizet, Bruneau). A nod to Wagner and his Tannhäuser – in its French translation of the 1860s – completes this programme conducted by a longstanding colleague of the soprano, one of the leading specialists in French music, Hervé Niquet. © Alpha Classics
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Vocale muziek (wereldlijk en religieus) - Verschenen op 5 juni 2012 | Ondine

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio - La Clef du mois RESMUSICA
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Liederen (Frankrijk) - Verschenen op 16 oktober 2015 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
The soprano Véronique Gens might be thought a natural for the French art song repertoire. But Néère, taking its title from the opening song by Reynaldo Hahn (the reference is to the Greek nymph known in English as Neaera, "white as a fine marble statue, with her rosy cheeks"), is one of just a few albums in the genre she has released. Get hold of it without delay: it's gorgeous. The French mélodie is not a high-register genre, and for a singer like Gens these songs reside in the lower part of her range, where she now brings just a bit of sultriness and smoke with devastating effect. The program includes three composers of the late 19th century who are closely related but contrasting in their individual styles: in the words of annotator Nicolas Southon "the melancholic Henri Duparc, the elegiac Ernest Chausson, the charmer Reynaldo Hahn." You could really dip in anywhere, but sample track 15, Hahn's A Chloris, for a taste of what Gens can do. The playing of accompanist Susan Manoff seems welded to Gens' vocal line, which even with all the voluptuous, erotic beauty has a kind of steely concentration that grows stronger and more impressive as the album proceeds. An absolute gem. © TiVo
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Klassiek - Verschenen op 1 maart 2019 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l’amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892. Véronique Gens is recording this cycle for the first time, although she has already issued Le temps des lilas with Susan Manoff at the piano ("Néère"), about which Ernst Van Bek wrote in Classiquenews: « it mesmerises with the nuancing of its colours, the allusive precision of every sung word ». Véronique Gens’ talent is equally on display in this recording too, with the Orchestre National de Lille – an orchestra she already knows well – under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation… The Symphony in B-flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson’s teacher César Franck! © Outhere Music
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Klassiek - Verschenen op 30 oktober 2007 | Naxos

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles du Monde de la Musique
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Liederen - Verschenen op 3 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
As the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new ligh. © Alpha Classics
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Klassiek - Verschenen op 1 november 2004 | Naxos

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 27 augustus 2021 | Alpha Classics

Hi-Res Booklet
This programme marks the eagerly awaited return of Véronique Gens to Baroque music and Lully, in which she made a name for herself at the start of her career. It presents airs from Atys, Persée, Alceste, Proserpine, Le Triomphe de l’Amour and other works by Louis XIV’s famous composer, but also several by Marc-Antoine Charpentier (Médée), Henry Desmarets and Pascal Collasse. Whether well known, rare or in some cases even unpublished, all of them present roles for powerful women whose love is unrequited: dark passions, bitter laments, jealousy, vengeance, the type of dramatic characters that Véronique Gens embodies with all the charisma that has made her reputation. This recording is also the result of an encounter with the youthful Ensemble Les Surprises, founded and directed by Louis-Noël Bestion de Camboulas. Together they conceived this programme, which mingles airs, dances and choruses, in collaboration with the Centre de Musique Baroque de Versailles. © Alpha Classics
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Opera - Verschenen op 21 augustus 2020 | Alpha

Hi-Res Booklet
Armide, premiered in 1686, was the last joint work of Lully and the poet Philippe Quinault. It immediately became a pillar of the Opéra’s repertory, which it finally left only in 1766, when it was removed to make room for a new wave of composers, Philidor, Grétry, Gossec and soon Gluck. A few attempts to restore former tastes still allowed audiences to hear such works as Persée, revived in 1770 (and recorded in that version by Hervé Niquet). But these operas were profoundly modified in order to increase the role of the orchestra and tailor the vocal numbers to the singers of the day. This was the context for the fascinating and unpublished version of Armide that has lain dormant in the Bibliothèque Nationale for more than two centuries. The revisions to the original are by Louis-Joseph Francœur, nephew of the celebrated François Francœur, one of Louis XV’s court musicians. This recording of the 1778 version of Armide, made at the Opéra Royal du Château de Versailles in collaboration with the Centre de Musique Baroque de Versailles, is not merely the first modern performance but the work’s world premiere, since none of its music was ever actually played at the time. It enables us to grasp the evolution of the ideas and practices of French music over a whole century. © Alpha Classics
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Klassiek - Verschenen op 1 februari 2000 | Warner Classics

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Klassiek - Verschenen op 1 januari 2000 | Decca Music Group Ltd.

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Klassiek - Verschenen op 25 november 2005 | Warner Classics

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Klassiek - Verschenen op 15 november 2000 | Warner Classics

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Klassiek - Verschenen op 1 mei 2006 | Warner Classics

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Klassiek - Verschenen op 8 juni 1998 | Warner Classics

Soprano Véronique Gens possesses a beautifully refined voice with a pearly sheen: an ideal voice for Mozart, and the operatic and concert arias and scenes on this 1998 recital effectively showcase her gifts. The repertoire is wide-ranging on several counts; it includes both very familiar and more obscure selections, and there is music from both soprano and mezzo-soprano roles. Gens has the necessary range and the solid technique to comfortably negotiate the music for both voice types; the Countess' "Porgi, amor" is lusciously ripe and rounded, and Cherubino's "Non so più cosa son," taken at a breakneck speed, showcases Gens' agility in her lower register. Gens' tone is absolutely pure and focused, and her legato is smooth as butter. She is also a subtle but superb singing actress, and brings intelligent and expressive honesty to each of the roles. The album ends on a spectacular note with a sophisticated, thrilling, emotionally probing account of Fiordiligi's "Per pieta, ben mio." In Ivor Bolton, Gens has a collaborator whose skill and sensibilities are a terrific match with hers, and the Orchestra of the Age of Enlightenment, one of the finest European ensembles, plays with exemplary polish and nuance. Virgin Classics' sound has excellent presence and is wonderfully clear. © TiVo
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Opera - Verschenen op 1 januari 2004 | Dynamic

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Klassiek - Verschenen op 1 augustus 1999 | Warner Classics

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Klassiek - Verschenen op 1 januari 2004 | Universal Music Division Decca Records France

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Klassiek - Verschenen op 1 januari 2002 | Universal Music Division Decca Records France

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Klassiek - Verschenen op 9 juni 2017 | Alpha Classics

Hi-Res Booklet
After an album of French songs (Néère) that earned her a "Gramophone Award" in 2016, Véronique Gens presents her new recital, this time with orchestra, which gives her an opportunity to display the maturity of her ‘Falcon’ soprano, the central tessitura typical of French Romantic opera, which takes its name from Cornélie Falcon, who created the works of Meyerbeer and Halévy staged in the 1830s. She pays tribute here to a number of composers whose unknown operas she was the first to reveal in projects mounted by the Palazzetto Bru Zane, including David, Godard, Saint-Saëns and Halévy. The programme selects arias from all the genres in vogue in the Romantic era: opera (Saint-Saëns, Halévy, Godard, Février), opéra-comique (David), oratorio (Franck, Massenet) and the cantata for the Prix de Rome (Bizet, Bruneau). A nod to Wagner and his Tannhäuser – in its French translation of the 1860s – completes this programme conducted by a longstanding colleague of the soprano, one of the leading specialists in French music, Hervé Niquet. © Alpha Classics