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Classical - Released November 6, 2015 | Erato - Warner Classics

Hi-Res Booklet Distinctions Gramophone Record of the Month - 4 étoiles Classica
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Classical - Released September 3, 2013 | ATMA Classique

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Hi-Res Audio
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Classical - Released January 4, 2011 | ATMA Classique

Booklet Distinctions 5 de Diapason
Fête Galante, a 1999 release featuring soprano Karina Gauvin and pianist Marc-André Hamelin, won numerous awards, and the outstanding performances on this 2011 reissue confirm how well-deserved those honors were. Gauvin has an exceptional voice -- clarion-bright, warm, confident, and agile, with a variegated palette of colors -- and her effortlessly incisive interpretive skills give depth and life to everything she sings. The distinctiveness and character she brings to these songs show a terrific grasp of the genre of the mélodie, from the late 19th century songs by Fauré and the young Debussy to the mid-20th works by Poulenc, Honegger, and Émile Vuillermoz. The CD demonstrates her range with the zany comedy of Poulenc's "Paganini" followed immediately by the intensely poignant multi-layered sadness of the composer's profound "C." Throughout, Gauvin's tone is ravishingly pure and she soars gloriously in the more lyrical songs. Marc-André Hamelin is better known as a virtuoso soloist than as an accompanist, and it's a testimony to Gauvin's artistry to have him involved in the recording; he brings a first-class sensibility to his accompanying role, making the piano parts sparkle with individuality. The CD has the added value of being an intriguing survey of over 50 years of the heyday of French language song. Atma's sound is immaculate: clean, natural, and warmly present. Highly recommended. © TiVo
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Opera - Released September 4, 2012 | ATMA Classique

Hi-Res Booklet Distinctions Hi-Res Audio
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Opera - Released March 27, 2020 | ATMA Classique

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Classical - Released November 6, 2015 | Erato - Warner Classics

Booklet
As George Frideric Handel's Italian operas grow in popularity, some of his less familiar works are receiving better coverage on disc. Such is the case with his 1730 opera, Partenope, an unusually lighthearted comedy that once languished in obscurity, though it has been increasingly performed and recorded. This 2015 Erato release by conductor Riccardo Minasi and his period ensemble Il Pomo d'Oro offers a fine production, featuring soprano Karina Gauvin as Queen Partenope, countertenor Philippe Jaroussky as Prince Arsace, and mezzo-soprano Teresa Iervolino as the cross-dressing Rosmira. Partenope is entertaining in its bubbling energy and bright sonorities, and though it was cast in Handel's characteristic opera seria form, the libretto involves comic elements that would become more common in Classical era operas, such as a breeches role, a lovers' triangle, a thwarted duel, and a provocative revelation at the climax. Highly recommended for Handel connoisseurs and fans of Baroque opera. © TiVo
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Opera - Released January 1, 2006 | ATMA Classique

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Classical - Released January 1, 2010 | CBC

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Sacred Oratorios - Released October 2, 2012 | Tafelmusik

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Classical - Released April 14, 2015 | ATMA Classique

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Classical - Released June 21, 2010 | ATMA Classique

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Vocal Music (Secular and Sacred) - Released February 12, 2016 | ATMA Classique

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Opera - Released June 21, 2010 | ATMA Classique

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Classical - Released March 10, 2005 | ATMA Classique

This is a superior production from the Quebec historical-performance ensemble Les Violons du Roy and conductor Bernard Labadie. The music on the disc is for soloists and orchestra: soprano and alto in the case of "Tilge, Höchster, meine Sünden, BWV 1083," with the alto part sung here by countertenor Daniel Taylor, and a soprano solo in the famed Cantata No. 82, "Ich habe genug," BWV 82. The pairing of works holds enduring interest. "Tilge, Höchster, meine Sünden is an adaptation of Giovanni Battista Pergolesi's Stabat Mater," fitted to a German-language version of Psalm 51. It's somewhat unusual among Bach's experiments with Italian music -- in transferring Vivaldi to the organ you encounter some of Bach's architectural thinking in the ways he makes the transition, but here you encounter Bach's fascination with Italian melody in something like pure form. Labadie's conducting, in addition to the superbly coordinated articulation he coaxes from his players, differentiates attractively between the two works. In the Pergolesi adaptation he holds the orchestra well in check -- almost too much in check, you think, until the singers start and you realize that he is giving them room to work. The contrast between Taylor's wire-like pitch control and the lush voice of soprano Karina Gauvin offers many chilling moments. In "Ich habe genug," Labadie gives the orchestra a more assertive if still quiet role, lingering on the dark pools of resolving dissonances with which Bach symbolizes the depth of the faithful soul's contentment. Gauvin emerges as a soloist on par with any of the European singers specializing in this music, and the Super Audio sound (auditioned on a good conventional stereo) catches impressive detail in a performance that resides at low dynamic levels throughout. © TiVo
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Classical - Released March 10, 2005 | ATMA Classique

This is a superior production from the Quebec historical-performance ensemble Les Violons du Roy and conductor Bernard Labadie. The music on the disc is for soloists and orchestra: soprano and alto in the case of "Tilge, Höchster, meine Sünden, BWV 1083," with the alto part sung here by countertenor Daniel Taylor, and a soprano solo in the famed Cantata No. 82, "Ich habe genug," BWV 82. The pairing of works holds enduring interest. "Tilge, Höchster, meine Sünden is an adaptation of Giovanni Battista Pergolesi's Stabat Mater," fitted to a German-language version of Psalm 51. It's somewhat unusual among Bach's experiments with Italian music -- in transferring Vivaldi to the organ you encounter some of Bach's architectural thinking in the ways he makes the transition, but here you encounter Bach's fascination with Italian melody in something like pure form. Labadie's conducting, in addition to the superbly coordinated articulation he coaxes from his players, differentiates attractively between the two works. In the Pergolesi adaptation he holds the orchestra well in check -- almost too much in check, you think, until the singers start and you realize that he is giving them room to work. The contrast between Taylor's wire-like pitch control and the lush voice of soprano Karina Gauvin offers many chilling moments. In "Ich habe genug," Labadie gives the orchestra a more assertive if still quiet role, lingering on the dark pools of resolving dissonances with which Bach symbolizes the depth of the faithful soul's contentment. Gauvin emerges as a soloist on par with any of the European singers specializing in this music, and the Super Audio sound (auditioned on a good conventional stereo) catches impressive detail in a performance that resides at low dynamic levels throughout. © TiVo
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Classical - Released May 10, 2004 | Naxos

Booklet
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Opera - Released March 4, 2014 | ATMA Classique

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Chamber Music - Released January 1, 2007 | ATMA Classique

Journey is a compilation of greatest hits from CDs of Les Boréades de Montréal, an early music ensemble that focuses on music of the seventeenth and eighteenth centuries. It was probably compiled as a promotional teaser, to tantalize listeners into going out and buying the albums from which these excerpts were extracted, and if that was the intent it ought to be entirely successful. The performers play with infectious verve and with a lilt that comes close to being a swing. The pieces from the earlier to mid-Baroque, by Purcell and Cavalli, come to life with a special energy. The excerpts from Cavalli's opera La Calisto, which include transcriptions of vocal pieces, are especially entertaining, and even without words the music conveys a sense of wild hilarity. (Cavalli must have been something like the John Waters of his day; the over-the-top librettos he chose and his zany music must certainly have pushed the standards of what was acceptable in seventeenth century Venice.) Even the "serious" pieces included, by Telemann and Clérambault, are played with beguiling panache. The sound is consistently clear and spacious. This CD should be required listening for anyone who has never been seduced by music of the Baroque era -- it should dispel any stereotypes of Baroque music as stiff and stuffy. © TiVo
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Classical - Released January 1, 2010 | CBC

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Classical - Released January 1, 2008 | CBC

Images de Noel features Michael McMahon, Karina Gauvin, and Nora Shulman performing a variety of holiday songs in a traditional European style. Featured songs include "What Songs Were Sung," "Mary Had a Baby," "I Wonder As I Wander," and "Noel," along with 23 others. The 27 songs are crammed onto one disc. As a result, they are rather brief. And because many of the performances are medleys, they seem even briefer. However, this makes the album move along at an accelerated and somewhat dizzying pace. © Jason Birchmeier /TiVo