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Vocal Recitals - Released September 14, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
A most unusual cabinet of curiosities 'Finding pleasure even in meditating on what causes one's pain': that neatly defines the theme of this album of music from the cusp of the sixteenth and seventeenth centuries. Here Italian and English madrigals rub shoulders with motets and Tenebrae responsories. A melancholic poetry that provided endless nourishment for musical creativity in the late Renaissance, and which Geoffroy Jourdain presents in his first recording for harmonia mundi. © harmonia mundi
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Vocal Recitals - Released February 10, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released February 7, 2012 | RCA Red Seal

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Vocal Recitals - Released January 1, 1975 | RCA Red Seal

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Vocal Recitals - Released January 20, 2012 | Masterworks

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Vocal Recitals - Released October 25, 2010 | naïve classique

Booklet Distinctions Choc de Classica
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Vocal Recitals - Released September 8, 2009 | deutsche harmonia mundi

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Vocal Recitals - Released July 31, 2007 | harmonia mundi

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Vocal Recitals - Released July 18, 2006 | harmonia mundi

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Vocal Recitals - Released April 29, 2003 | naïve classique

Vocal Recitals - Released September 3, 2002 | L'empreinte digitale

Booklet Distinctions Diapason d'or
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The French air de cour or court air was a genre of lute- or guitar-accompanied song that flourished during the years on either side of 1600. It is strict and rather sparse compared with the music being made in Italy at the time, and it shows little influence from Italian experimentation with declamation and with the strongly harmonic conception of the bass that would evolve into the basso continuo. The music is restrained and, for the modern listener, pleasant enough, with the composer represented here, Etienne Moulinié, apparently trying to work out new wrinkles on a small set of fixed forms. Moulinié was one of the most famous composers in this genre and his songs offer quite a bit of variety -- starting with the fact that he set texts in Italian and Spanish as well as French, and sometimes drew on the dance rhythms that were to lay the foundations for Baroque ground forms. This recording employs a variety of soloists, and the meaty voice of soprano Maria Cristina Kiehr commands special attention. Yet there's a sameness to the pieces that keeps the recording from being very interesting to anyone but specialists in music of the period. For the most part the music is not very expressively sung. One piece, Stelle homicide (Homicidal Stars) is also included on the Accent label's Echo de Paris disc of French love songs of the seventeenth century; sample the pair for an idea of the very restrained approach of this one. It's never unpleasant or poorly executed, but there's a bouncy feel to the music that eventually becomes monotonous. The booklet goes into a great deal of scholarly detail about the texts (some of them, one learns, had hidden political meanings) but leaves them untranslated except for the first line or two -- another sure mark of a disc aimed at specialists rather than at ordinary listeners. © TiVo
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Vocal Recitals - Released January 1, 2001 | naïve classique

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Vocal Recitals - Released March 30, 1990 | deutsche harmonia mundi

Distinctions The Qobuz Ideal Discography
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Vocal Recitals - Released September 20, 1988 | Sony Classical

CBS' collection of songs and arias by Luciano Pavarotti is not a compilation, but the record of a single 1985 concert in Modena. As such, it's satisfying as a unified artistic effort, with the same orchestra and recording quality throughout. The audience's very vocal enthusiasm between, and sometimes in the middle of the pieces, is a demonstration of the synergy that's created when the energies of the performer and the audience play off each other. This performance has more of the atmosphere of rock concert than of the typically reserved classical concert. Another result of the concert's circumstances is that the occasional less than lovely tone that's part of almost any live performance is captured, but ultimately, those moments are easily overlooked because there's so much excitement and positive energy throughout. Pavarotti is in strong voice, singing with his usual passion, expressiveness, ringing tone, and creamy legato, and the CD should satisfy fans who love his performances for those qualities. The selections are divided equally between mostly familiar arias, like "La donna è mobile," "Vesti la giubba," and "Nessun dorma," and popular romantic Italian songs. The Emilia Romagna Arturo Toscanini Orchestra plays capably under Emerson Buckley. The sound is good for a live, outside performance, and the balance understandably favors the soloist, but not to the point of distortion. The CD would be a good introduction to Pavarotti for the novice and shouldn't disappoint his fans. © TiVo