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Vocal Music (Secular and Sacred) - Released May 31, 2017 | Alpha

Hi-Res Booklet Distinctions 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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Mélodies (French) - Released October 20, 2015 | Alpha

Hi-Res Booklet Distinctions 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.
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Classical - Released March 1, 2019 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama
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