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Opera Extracts - Released July 15, 2013 | Naive

Hi-Res Booklet Distinctions Timbre de platine - Gramophone Editor's Choice - Hi-Res Audio
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Secular Vocal Music - Released April 13, 2018 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
The least that we can say here is that soprano Sandrine Piau refuses to be pigeonholed: she cheerfully steers a course from the German romanticism of Schumann, Wolf or Loewe; to Debussy, all the way to the near-Broadway work of André Prévin, by way of Poulenc, Gurney and Samuel Barber… Her crystal-clear voice rejects any vocal Italicisms (no glissandos, no cooing, no notes attacked from below, no parasitic diphthongs, and a carefully-controlled vibrato), so that we get nothing but the music – and the words of course, comprehensible regardless of the language. Her long experience of baroque song – and the world of Mozart, in which she excels – has given her magnificent rigour, but her broad repertoire, which she deploys here, is full of power, from the suavest pianissimo to the most imposing fortissimo. As for pianist Susan Manoff, she simply offers the best possible musical accompaniment to the repertoires of the Lied, of French mélodie, romance and art song: and she is especially unmissable here, alongside one of today's greatest French voices. © SM/Qobuz
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Opera Extracts - Released September 29, 2014 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
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Opera Extracts - Released October 13, 2009 | Naive

Distinctions Choc de Classica
French soprano Sandrine Piau, despite her frequent appearances on Baroque recordings, may not seem a first choice for the sheer athleticism of Handel, but wait until you hear her. Piau substitutes grace, precision, and sheer beauty for brawn, and the results are astonishing. She chooses arias ideally suited to her talents. "Rejoice greatly," from Messiah, is full of spiky flash, and lengthy pieces like "Prophetic raptures swell my breast" (track 12), from Joseph and His Brethren, are beautifully developed, with Piau sliding with impossible smoothness into high notes in the later stages. Passagework in faster pieces is a shower of bright sparks, while in "Sweet bird," from L'allegro, il penseroso, ed il moderato (track 16), you will become deliciously disoriented after a while as to whether it is Piau or one of the instruments providing the bird effects. The Accademia Bizantina under violinist/director Stefano Montanari provides the more conventional zip that lets Piau's subtler approach weave its remarkable spell. With the usual striking graphics from Naïve and excellent notes unpacking the album's theme of the interpenetration of sacred and secular in Handel's oratorio-heavy world, this is a superb vocal recording. If you had to complain of one thing, it's that there's a slight disconnect between sound and syntax in Piau's treatment of English, but with beauty like this you won't care. Texts are in French, English, and Italian, where that is the original.
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Opera Extracts - Released September 19, 2011 | Naive

Distinctions Special Soundchecks
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Classical - Released March 14, 2006 | naïve classique

Booklet
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Classical - Released February 25, 2003 | naïve classique

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Classical - Released March 24, 2014 | naïve classique

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Classical - Released November 6, 2007 | naïve classique

Booklet
Soprano Sandrine Piau writes in the program notes that there is no narrative or theme unifying the songs on this album, only the quality they share of being evocative of something beyond themselves. The late Romantic songs are indeed understated and suggestive rather than emphatic, many written in elegiac moods of hushed happiness or subdued yearning. The centerpiece is Richard Strauss' four song cycle, Mädchenblumen, written when the composer was 26, which provided Piau with the initial inspiration for this collection. It's immensely appealing, and its generous lyricism makes it a work that deserves to be widely sung and known. Piau's interpretations are revelatory, above reproach. Her voice is ideal for this repertoire -- warm, but incisive when necessary, with velvety legato, flawless intonation and absolutely pristine tone. She expresses a genuine connection with the songs, singing with caressingly personal attention to the emotional colors of each. It's difficult to single out particular songs as highlights, since Piau's performances are of such a consistently high level of accomplishment. Some especially transcendent moments, though, are the places in the Strauss and Debussy songs where she floats ethereally in her highest register. Pianist Susan Manoff is a worthy partner, playing with sensitivity and finesse. Naïve's sound is warm and present, with excellent balance between Piau and Manoff. The CD should be of interest to fans of bel canto singing of the highest order, and of the late Romantic song repertoire.
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Art Songs, Mélodies & Lieder - Released March 21, 2011 | Naive

Booklet
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Opera - Released May 31, 2010 | naïve classique

Booklet
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Classical - Released February 1, 2002 | naïve Astrée

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Classical - Released January 1, 1997 | Decca Music Group Ltd.

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Classical - Released September 19, 2011 | naïve classique

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Opera Extracts - Released June 1, 2009 | Naive

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Film Soundtracks - Released January 1, 1999 | Universal Music Classics & Jazz

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Opera Extracts - Released November 2, 2004 | Naive

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Classical - Released March 5, 2012 | naïve classique

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Classical - Released July 1, 2015 | NMC Recordings

Booklet