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Carolyn Sampson - Reason in Madness

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Reason in Madness

Carolyn Sampson - Joseph Middleton

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The madwoman is a staple of opera, but not so much of art song. The program here is tricky from the start because the intimate nature of the song genre forecloses many of the typical operatic depictions. The medium-sized, but extremely agile voice of soprano Carolyn Sampson succeeds ideally here, but that's not the end of the delights. This is one of those releases where you might take issue with one interpretation or another (from the perspective of this writer, Wolf is not an ideal match for Sampson's voice), yet you have to applaud the sheer boldness of the entire project. For one thing, Sampson, who is not German or French, is still one of the few singers equally adept in the art song styles of those two nationalities. For another, the program is impressive in its ambition. The title comes from an epigram of Nietzsche: "There is always some madness in love, but there is also always some reason in madness." The concept allows Sampson to cast her net widely. The prime attraction is Ophelia, famous from Shakespeare down to The Band (the group's claim its song was named for country comedienne Minnie Pearl is not credible). She shows up in fairly obscure songs by Brahms, Richard Strauss, Saint-Saëns, and Chausson. One of Brahms' Ophelia songs, written for a Shakespeare production, opens the program in its striking original unaccompanied version. However, there are also other forms of madness: from the intoxicated sexuality of Debussy's Chansons de Bilitis to Schubert's Gretchen am Spinnrade, D. 118. Sample the latter for a really original and compellingly controlled version of that chestnut that shows Sampson's impressive degree of trusting interaction with longtime accompanist, Joseph Middleton. There are also songs devoted to Goethe's Mignon (four by Wolf, one by Henri Duparc) and some single items. The album closes with two mini-dramas by Duparc and Francis Poulenc. Each of these songs requires different vocal and emotional resources from Sampson, and she and the program do not flag. A final attraction is the sound from Potton Hall in Suffolk, where the BIS engineers have achieved an expertise rivaling those from Hyperion. Brava, brava!
© TiVo

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Reason in Madness

Carolyn Sampson

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Ophelia-Lieder, WoO 22 (Johannes Brahms)

1
No. 4 Sie trugen ihn auf der Bahre bloß
00:00:56

Carolyn Sampson, Soprano - Johannes Brahms, Composer - William Shakespeare (from "Hamlet"), Author

(C) 2019 BIS (P) 2019 BIS

Herzeleid, Op. 107 No. 1 (Robert Schumann)

2
Herzeleid, Op. 107 No. 1
00:01:49

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Robert Schumann, Composer - Titus Ulrich, Author

(C) 2019 BIS (P) 2019 BIS

Drei Lieder der Ophelia, op. 67 (Richard Strauss)

3
No. 1 Wie erkenn ich mein Treulieb vor andern nun ?
00:02:27

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Richard Strauss, Composer - William Shakespeare (from "Hamlet"), Author

(C) 2019 BIS (P) 2019 BIS

4
No. 2 Guten Morgen, 's ist Sankt Valentinstag
00:01:09

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Richard Strauss, Composer - William Shakespeare (from "Hamlet"), Author

(C) 2019 BIS (P) 2019 BIS

5
No. 3 Sie trugen ihn auf der Bahre bloß
00:03:42

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Richard Strauss, Composer - William Shakespeare (from "Hamlet"), Author

(C) 2019 BIS (P) 2019 BIS

Chansons de Bilitis, Op. 39 (Charles Koechlin)

6
No. 1 Hymne à Astarté
00:01:54

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Charles Koechlin, Composer - Pierre Louÿs, Author

(C) 2019 BIS (P) 2019 BIS

Chansons de Bilitis, L 97 (90) (Claude Debussy)

7
No. 1 La flûte de Pan
00:02:56

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Claude Debussy, Composer - Pierre Louÿs, Author

(C) 2019 BIS (P) 2019 BIS

8
No. 2 La chevelure
00:03:38

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Claude Debussy, Composer - Pierre Louÿs, Author

(C) 2019 BIS (P) 2019 BIS

9
No. 3 Le tombeau des naïades
00:03:04

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Claude Debussy, Composer - Pierre Louÿs, Author

(C) 2019 BIS (P) 2019 BIS

Chansons de Bilitis, Op.39 (Charles Koechlin)

10
No. 5 Épitaphe de Bilitis
00:03:40

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Charles Koechlin, Composer - Pierre Louÿs, Author

(C) 2019 BIS (P) 2019 BIS

Romance de Mignon (Henri Duparc)

11
Romance de Mignon
00:04:29

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Henri Duparc, Composer - Victor Wilder after Johann Wolfgang von Goethe

(C) 2019 BIS (P) 2019 BIS

Mignon Lieder from Goethe-Lieder (Hugo Wolf)

12
No. 9 Kennst du das Land ?
00:06:23

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Hugo Wolf, Composer - Johann Wolfgang von Goethe, Author

(C) 2019 BIS (P) 2019 BIS

13
No. 5 Mignon I "Heiß mich nicht reden"
00:03:45

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Hugo Wolf, Composer - Johann Wolfgang von Goethe, Author

(C) 2019 BIS (P) 2019 BIS

14
No. 6 Mignon II "Nur wer die Sehnsucht kennt"
00:02:06

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Hugo Wolf, Composer - Johann Wolfgang von Goethe, Author

(C) 2019 BIS (P) 2019 BIS

15
No. 7 Mignon III "So lasst mich scheiden, bis ich werde"
00:03:40

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Hugo Wolf, Composer - Johann Wolfgang von Goethe, Author

(C) 2019 BIS (P) 2019 BIS

Gretchen am Spinnrade, Op. 2, D. 118 (Franz Schubert)

16
Gretchen am Spinnrade, Op. 2, D. 118
00:03:46

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Franz Schubert, Composer - Johann Wolfgang von Goethe, Author

(C) 2019 BIS (P) 2019 BIS

Mädchenlied, Op. 107 No. 5 (Johannes Brahms)

17
Mädchenlied, Op. 107 No. 5
00:01:43

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Johannes Brahms, Composer - Paul Heyse, Author

(C) 2019 BIS (P) 2019 BIS

Die Spinnerin, Op. 107 No. 4 (Robert Schumann)

18
Die Spinnerin, Op. 107 No. 4
00:01:24

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Robert Schumann, Composer - Paul Heyse, Author

(C) 2019 BIS (P) 2019 BIS

La mort d’Ophélie (Camille Saint-Saëns)

19
La mort d’Ophélie
00:03:14

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Camille Saint-Saëns, Composer - Ernest Legouvé, Author

(C) 2019 BIS (P) 2019 BIS

Chansons de Shakespeare, Op. 28 (Ernest Chausson)

20
No. 3 Chanson d’Ophélie
00:01:44

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Ernest Chausson, Composer - William Shakespeare, Author

(C) 2019 BIS (P) 2019 BIS

Ophelia-Lieder, WoO22 (Johannes Brahms)

21
No. 1 Wie erkenn ich dein Treublieb ?
00:04:07

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Johannes Brahms, Composer - William Shakespeare (from "Hamlet"), Author

(C) 2019 BIS (P) 2019 BIS

Au pays où se fait la guerre (Henri Duparc)

22
Au pays où se fait la guerre
00:05:14

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Henri Duparc, Composer - Théophile Gauthier, Author

(C) 2019 BIS (P) 2019 BIS

La dame de Monte-Carlo, FP 180 (Francis Poulenc)

23
La dame de Monte-Carlo, FP 180 (Arr. for Voice & Piano)
00:07:49

Carolyn Sampson, Soprano - Joseph Middleton, Piano - Francis Poulenc, Composer - Jean Cocteau, Author

(C) 2019 BIS (P) 2019 BIS

Albumbeschreibung

The madwoman is a staple of opera, but not so much of art song. The program here is tricky from the start because the intimate nature of the song genre forecloses many of the typical operatic depictions. The medium-sized, but extremely agile voice of soprano Carolyn Sampson succeeds ideally here, but that's not the end of the delights. This is one of those releases where you might take issue with one interpretation or another (from the perspective of this writer, Wolf is not an ideal match for Sampson's voice), yet you have to applaud the sheer boldness of the entire project. For one thing, Sampson, who is not German or French, is still one of the few singers equally adept in the art song styles of those two nationalities. For another, the program is impressive in its ambition. The title comes from an epigram of Nietzsche: "There is always some madness in love, but there is also always some reason in madness." The concept allows Sampson to cast her net widely. The prime attraction is Ophelia, famous from Shakespeare down to The Band (the group's claim its song was named for country comedienne Minnie Pearl is not credible). She shows up in fairly obscure songs by Brahms, Richard Strauss, Saint-Saëns, and Chausson. One of Brahms' Ophelia songs, written for a Shakespeare production, opens the program in its striking original unaccompanied version. However, there are also other forms of madness: from the intoxicated sexuality of Debussy's Chansons de Bilitis to Schubert's Gretchen am Spinnrade, D. 118. Sample the latter for a really original and compellingly controlled version of that chestnut that shows Sampson's impressive degree of trusting interaction with longtime accompanist, Joseph Middleton. There are also songs devoted to Goethe's Mignon (four by Wolf, one by Henri Duparc) and some single items. The album closes with two mini-dramas by Duparc and Francis Poulenc. Each of these songs requires different vocal and emotional resources from Sampson, and she and the program do not flag. A final attraction is the sound from Potton Hall in Suffolk, where the BIS engineers have achieved an expertise rivaling those from Hyperion. Brava, brava!
© TiVo

Informationen zur Originalaufnahme : Recording : January 2018 at Potton Hall, Westleton, Suffolk, England

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