Germaine Lubin

On this CD:

1. Tannhäuser, opera, WWV 70 Salut à toi, nobel demeure
Composed by Richard Wagner
Performed by Germaine Lubin

2. Lohengrin, opera, WWV 75 Seule dans ma misère
Composed by Richard Wagner
Performed by Germaine Lubin

3. Tristan und Isolde, opera, WWV 90 La Mort d'Isolde
Composed by Richard Wagner
Performed by Germaine Lubin

4. Die Walküre (The Valkyrie), opera, WWV 86b Drapée dans une Cape Noire
Composed by Richard Wagner
Performed by Germaine Lubin

5. Siegfried, opera, WWV 86c Dès l'origine jusqu' à cette heure
Composed by Richard Wagner
Performed by Germaine Lubin

6. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Qu'un bucher s'elève la-bas
Composed by Richard Wagner
Performed by Germaine Lubin

7. Der Freischütz, opera in 3 acts, J. 277 Comment trouver le calme
Composed by Carl Maria von Weber
Performed by Germaine Lubin

8. Faust, opera Il était un roi de Thule
Composed by Charles Gounod
Performed by Germaine Lubin

9. Sigurd, opera Salut! splendeur du jour
Composed by Ernest Reyer
Performed by Germaine Lubin

10. Tosca, opera Notre doux nid caché dans la verdure
Composed by Giacomo Puccini
Performed by Germaine Lubin

11. Tosca, opera D'art et d'amour
Composed by Giacomo Puccini
Performed by Germaine Lubin

12. Etude for piano in E major, Op. 10/3, CT 16
Composed by Fryderyk Chopin
Performed by Germaine Lubin

13. Work(s) Cantate de la Pentecôte (unspecified)
Composed by Johann Sebastian Bach
Performed by Germaine Lubin

14. Erlkönig ("Wer reitet so spät"), song for voice & piano, D. 328 (Op. 1)
Composed by Franz Schubert
Performed by Germaine Lubin

15. Myrthen, 26 songs for voice & piano, Op. 25 No. 9, Lied der Suleika
Composed by Robert Schumann
Performed by Germaine Lubin

16. Lieder und Gesänge II (5), songs for voice & piano, Op. 51 No. 5, Liebeslied
Composed by Robert Schumann
Performed by Germaine Lubin

Tracks:

A la brise
Quanti mai
O ma belle rebelle
Absence
Mignon
L'Horizon Chimerique. Op.118: La mer est infinie
L'Horizon Chimerique. Op.118: Je me suis embarque
L'Horizon Chimerique. Op.118: Daine, Selene
L'Horizon Chimerique. Op.118: Vaisseaux, nous vous aurons aimes
Arpege Op.75, no.2
Clair de Lune Op.45, no.2
En sourdine Op.58, no.2
Apes un reve
Der Wanderer an den Mond. Op.80, no.1
Nacht und Traume. Op.43, no.2
Pendant le Bal
Op.6 no.6 Ah! Qui brula d'amour
Fetes Gallantes, set no.2: Les ingenus
Fetes Gallantes, set no.2: Le faune
Fetes Gallantes, set no.2: Colloque sentimental
Vous etes le charme
Vergin tutt'amor
La serenata Posate, dormite
O cessate di piargarmi
Signes
Per valli, per boschi

Customer Reviews:

SUBLIME ARTISTRY AND A MAGNIFICENT VOICE.......1999-12-13

French by birth, training and career, Gerard Souzay stands head and shoulders above any singer in the field of the French art song. His creamy lyric baritone and subtle artistic identity and demeanor was essentially unsuited (and certainly underpowered) to the more overtly stated emotions that make opera so unique, so early on Souzay directed his finely tuned artistic instincts to the more intimate forum of the French art songs of Gounod, Faure, and Debussy, and to the "lieder" of Schubert, Schumann, and Brahms. In the latter he was rivaled only by the formidable Dietrich Fischer-Diskeau while in the former he was rivaled by none in the twentieth century. There are numerous Phillips and EMI recordings (most of which are currently unavailable) which ably testify to the beautiful artistry of Gerard Souzay. Here is another, and it is so special that I have found myself returning to it repeatedly since having acquired it recently. The selections here were recorded in the late 1940's, but the sound (forgiving some surface noise) is perfectly listenable, with the voice and piano accompanyment coming through vividly and cleanly. Souzay was nearing thirty and his voice was as beautiful an instrument as one could ever hope to hear anywhere. In art songs by Gounod and Faure, Souzay sings not only with unsurpassing beauty of sound, but with great imagination and extraordinary phrasing. The songs are very attractive to begin with, but Souzay makes them a truly enriching and beautiful experience. To hear this music performed so idiomatically is something one may experience once in a musical lifetime. The German and Italian selections are almost as impressive. Schubert's quiet and haunting "Nacht und Traume" finds Souzay singing as though he himself were in a dream, where his perfectly controlled soft notes seem to evaporate into the silence of night. Durante's "Vergin tutt'amor" may not have the Italian passion that a Pavarotti could have brought to it, but it has a flawless delivery and a unique beauty on its own terms. Gerard Souzay was gifted with possibly the most beautiful baritone voice of his time, and his elegance and "brush strokes" of interperetation in song literature and lieder is something to treasure and cherish. For anyone interested in knowing what truly great vocal artistry is all about, this disc is a must!

Average customer rating:

Historical enthusiasts only
Quick Silver! Forever, Germaine!

Germaine Lubin

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000IQHV
Release Date: 1999-10-26

Customer Reviews:

Historical enthusiasts only.......2007-07-15

Obviously, This was recorded many years ago. The sound is barely passable.
I've read about her and supposedly she was da "BANG" way back when. I've never ben a great fan of these old recordings since they often times tell little of the actual greatness of these singers. Her biography was more fascinating.

Quick Silver! Forever, Germaine!.......2006-09-24

Aha, I have found a soprano that had it all, everything: physical and vocal beauty, the softest and roundest pianissimi ever without being fake or narrow, a gigantic middle voice, power, passion! Germaine had enough of everything. Lubin is without question unbeatable. The timbre of her voice is interesting, but beautiful. She has enormous volume, yet the sound is very light, it moves fast, like mercury or quick silver. Her voice flows, but the metal in the sound, the depth of the sound, the height of the sound is just completely unique and utterly impressive.

The Siegfried aria "Ewig war" is so beautiful and delicate, with a high C that was plain too easy for any dramatic soprano to think about singing, but there it was. The trill? Perfection!!! I agree with Hitler that she probably was the best Isolde in the world. I don't think that there is or was anyone to touch La Lubin! Even the Faust aria is sublime. She was GREAT!

Her life was NOT easy and it is difficult to disassociate her musicality from the tragedy she was forced to live; imprisonment, the death of her son, a certain lack of acclaim from France, and a divine appreciation for platonic love "I fell in love with men spiritually, they fell in love with my body.", which she could not reciprocate. All that must have been dreadful to live with.

Ok, Madame Lubin -- no one ever surpassed you in my book! You remain a Goddess of Art and even old France had to eventually admit that. Brava!!!

Germaine Lubin, Historical Recordings from 1927-48

Average customer rating:

Germaine Lubin, Historical Recordings from 1927-48

Manufacturer: HAFG
ProductGroup: Music
Binding: Audio CD
ASIN: B000TRIT0C
Release Date: 2007-07-16

Tracks:

Durante:Virgin tutto amore
Blangini: Per valli, per boschi
Chopin: Tristesse
Faure: Au bord de l:eau
Leguernay: Signes
Wolf: Verborgenheit (Moerike)
Schumann: Liebeslied (Goethe) op.51"/5"
Schumann: Lied der Suleika (Goethe)
Schubert: Erlkoenig D328"
Wagner: Tristan and Isolde: Doux et calme
Wagner: Lohengrin: Einsam in trueben Tagen (fr)
Wagner: Tannhaeuser: Dich, teure Halle (fr)
Wagner: Die Walkuere: Drape dans une cape noire
Wagner: Die Walkuere: Heure d:angoisse
Wagner: Siegfried: Des l:orgine jusq:a
Reyer: Sigurd: Salut, splendeur du jour
Wagner:Goetterdaemmerung: Starke Scheite (fr)

amazon.com

The Hamburger Archive for Song Art (HAFG) presents the world's most renowned artists performing timeless classics. This collection includes Germaine Lubin, Historical Recordings from 1927-48.

Average customer rating:

Soprano 1891-1979 Import

ProductGroup: Classical
Binding: Audio CD
ASIN: B000FQ75CA

Product Description

1.tannhauser.2.lohengrin.3.siegfriend.4.walkuere.5.erlkonig.6.liebeslied.7.suleika.8.sigurd.9.tristesse.10.cantata.11.tosca.12.tosca:vissi d'arte.13.tristan und isold.

Average customer rating:

Germaine Lubin: Opera Arias & Songs

Manufacturer: Epm Musique
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000000GCB
Release Date: 1996-02-20

Average customer rating:

Extremely enjoyable, even if not the best

Reyer: Sigurd

Manufacturer: Malibran [C.D.R.G.]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00004S93V
Release Date: 2000-03-15

Customer Reviews:

Extremely enjoyable, even if not the best.......2003-09-24

SIGARD: Composer, Ernest Reyer (1823-1909)
This particular recording is not the best of this opera, and I cannot even say for sure that it is complete. It is a compilation of many recordings pulled together into one. That explains the numerous number of conductors. Historically, this recording is of great importance, for we are hearing the voices of the times, great voices (like Marjorie Lawrence) that were also the Greatest French singers of Wagner. These singers were wonderful, and most of them did sing Wagner's Ring at one time or other in their careers. Lawrence, in her autobiography (Interrupted Melody) speaks very highly of the work. She was one who wrote about singing both this opera, and the Wagner Ring (sadly, though she sang it in German while in New York, any extracts one is able to find of her singing Wagner, or any German composer, are all sung in French).

There is another recording of the work, and it is complete, but I can't find it in the Amazon catalogue. It is published by LDC 278 919 Chant du Monde, published in France, and distributed by Harmonia Mundi France. It was recorded in 1989. Few of the singers were familiar to me (only Andrea Guiot recordings are part of my collection, and then only one - highlights from Rossini's Guillaume Tell), but I have recordings by the conductor, Manuel Rosenthal. This version is virtually complete, and I recommend it over the reviewed version (the historical one) because one of the most important parts of Reyer's operatic writing was his use of the orchestra, which comes across quite poorly in the historical recording.

A note must be said about the work itself. This is not a pale imitation of Wagner and his Ring Cycle, as so many writers would have the public believe. Wagner's source for his Ring was actually many sources all put together in Wagner's quite unique way, and often with virtually NO fidelity to the original source. The Nibelungenlied is cited often as his source, whereas the awakening of Brunhilde is completely a portion of the Eda, an Icelandic work. Wagner took all the legends he knew and whipped them all together into the massive and wondrous work he created.

Though Reyer's opera does deal with some of the same characters, the events are not at all the same. His source is the Nibelungenlied, and he begins his story with Attila (called Ezle in the poem) sending representatives to the Burgundies seeking a wife. Gunther's sister, Hilda, would rather remain single for life than marry the Hun. Through magic, done by her mother, Uta, Sigard comes to visit them. Sigard is not deceived into helping Gunther seek Brunehild as a wife. We willingly does so because he is smitten by Hilda's beauty. Brunehild's rock is guarded by an entire group of priests of Odin. Brunehild is awaken by a disguised Sigard (no magic here, like in Wagner when Siegfried wins Brunhilde for Gunther). She and he fall asleep, and while asleep, Gunther and Sigurd change places. She is brought home to marry Gunther, and Hilda marries Sigard. The couples are actually quite happy. However, a rivalry begins between the two women (Brunehild actually is getting quite smitten with Sigurd, and he with her -- though they are married to other people, and that upsets Hilda), and in anger, Hilda tells Brunehild that Gunther never won her, but Sigurd did, and he did it so he could have Hilda to wife. In anger, Brunehild sets in motion events that bring about Sigard's death (by Gunther). She also dies and the opera ends with the spirits of Sigard and Brunehild walking together into Heaven, while another tableau shows the Burgundies defeated by Attila. (At this point the Nibelungenlied continues with Hilda marrying Ezle, who murders her family for the hoard of gold - oh, yes, the hoard of gold is contained in the source poem, and Wagner used it to some extent, but it is never mentioned in the opera Sigurd, nor is there any ring to rule the world - Hilda will then murder Ezle and abandon her dead husband's lands).

The greatest problem we have with this absolutely wonderful work (the music is ravishingly beautiful, and exceptionally wonderful to sing; no wonder all the great singers of that time loved singing in this opera) is we have a terrible habit of comparing it to Wagner, and often thinking it is an inferior work. Writers have often even called Reyer an inferior or second rate composer, which is simply not true. Like many wonderful composers of his time, who were exceptionally talented, he has fallen into oblivion. One would hope that someday he, and many others like him, would be resurrected for our pleasure (singers would find gold mines of wonder far better than much of what they currently sing). Just as we learned our view of the bel canto operas was completely wrong, we may learn the same about French opera of this period.

I rated this recording as I did because it is an important representation of the work, and of a time when it was most popular; however, the sound is poor, and the work is not even because of all the various blending that occur. For first time buyers, I recommend the commercial recording which is complete; I recommend this only for collectors.

Music Review:

Music Review

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