La Folie [Original recording remastered] [Import]

Amazon.com
Isolationist, misanthropic, and cantankerous, punk survivors the Stranglers were never a band known for ostentatious displays of affection, at least not to music journalists. However, 1981's conceptual La Folie (roughly translated as "madness") has become known in band circles as the Stranglers "love" album. Typically, these were no ordinary chansons d'amour. Songs of faith, familial strife, devotion, and dependency--spanning religion, celebrity obsession, lust, death, and drugs--the nearest the album got to being superficially palatable was on the gorgeous, harpsichord-strewn "Golden Brown," ex-jail-bird Hugh Cornwell's paean to the seduction of heroin. And then there was the chilled-out title-track, six sultry minutes of J.J. Burnel reciting--entirely in French--the true story of a Paris-based student who murdered and ate his girlfriend.

The Raven aside, La Folie found the Stranglers at their most instrumentally dexterous and melodically inventive: witness Burnel's nomadic bass lines, the discordant Four Freshmen harmonies on "It Only Takes Two to Tango," Cornwell's barb at the commercialized martyrdom of deceased pop stars on the waspish "Everybody Loves You When You're Dead." There are some great should-have-been singles too, like "Non Stop" with its cheesy organ licks, and the perky, salacious synth-pop of "Pin Up." Even the bonus tracks are excellent--"Strange Little Girl" (a Top 10 hit and a song covered by Tori Amos) and its even better B-side, the Hot Club de Paris pastiche "Cruel Garden." La Folie is easily the most underrated album from Britain's most underrated band. --Kevin Maidment

Product Description
UK repackaged reissue of 1981 album, includes new artwork with extensive sleeve notes & previously unseen photos. 17 tracks including six bonus tracks, 'Cruel Garden', 'Cocktail Nubiles', 'Vietnamerica', 'Love 30', 'You Hold The Key To My Love In Your Hands' & 'Strange Little Girl'.

La Folie,Stranglers,EMI,Rock,Rock/Pop

La Folie [Original recording remastered] [Import]

Average customer rating:

Steeped in Tradition, Boldly Forging Forward
Just pure and sweet music
Chime Street
Great!
Great

L' lAmour Ou la Folie
Beausoleil
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

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Bayou Deluxe: The Best Of Michael Doucet & Beausoleil
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La Danse de La Vie
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ASIN: B0000033Y5
Release Date: 1997-01-14

Tracks:

Newz Reel
Les Blues De Creve De Faim
L'Amour Ou La Folie
It's A Sin To Tell A Lie (C'est Un Peche De Dire Un Menterie)
Eunice Two-Step
Charivari
Boudreauz
Valse A Pop
Can't You See (Tu Vas Voir)
Les Blues De La Prison
Danse Caribe
Valse J'Aime
Courir Avec Walker
Ma Vie S'Est Arretee

Amazon.com essential recording

Recorded shortly after Beausoleil celebrated their 20th anniversary, L'Amour ou la Folie ("Love or Folly") finds them at the height of their confident, highly spirited, and considerably unstagnant powers. By now the sextet transcends the dancehall, possessing the ability to transform nearly any traditional Cajun, Creole, or French tune into high art while preserving a clear sonic bloodline back to its roots. Guests Richard Thompson, clarinetist Dr. Michael White, and lap-steel guitarist Bessyl Duhon are lagniappe on a record that encompasses everything from happy and sad old-timey waltzes, two-steps, and ballads, to spry "newgrass" originals like Michael Doucet's "Newz Reel." --Richard Gehr

Customer Reviews:

Steeped in Tradition, Boldly Forging Forward.......2004-08-28

Maybe it's the Cajun boy in me, but I used to be very unnerved by the popularity of Beausoleil across the world. I just couldn't comprehend why folks in cities like NYC or Boston or San Francisco would enjoy this music, most of which was in a language they couldn't understand. It almost seemed as if Beausoleil was using their "ethnicity" to trick people outside of Louisiana into liking them because they were a "novelty" act. Boy, was I ever wrong. As I've become more mature, I've realized that Beausoleil's popularity isn't due to their "novel" status, but their brilliant music. Few contemporary Cajun bands can play songs like these guys and turn it into a beautiful thing that crosses language and cultural boundaries.

The songs on "L'Amour Ou La Folie" are fun, imaginative and heavily steeped not only in Cajun tradition, but the French tradition as well(listen to "It's A Sin To Tell A Lie" and don't tell me that you think of France when you hear it). "Newz Reel" had me longing to watch KATC news(you won't get this if you haven't been around Lafayette). The rest of the album, from the tribute to "Pop" McGee to the title track, is fantastic. The fiddle work is brilliant and the band's sound is tight. The songs are well done and nothing comes across as gimmicky or fake. When you hear "Charivari," you catch a glimpse of life that few have ever experienced outside of the Pelican State. Everything is found on this album. It's a true masterpiece. Not only does the music pay homage to the past, but you can hear new sounds that haven't been played by a Cajun band before. The closest example I can come up with would be rockabilly. In its infant stages, most of its pioneers could barely play instruments, but when folks like Buddy Holly, who studied music and experimented with it, came along, the sound took on a whole new state. Beausoleil does that with Cajun music. It's traditonal, but at the same time there is a "newness" about it.

Thanks, Beausoleil, for spreading the music of our unique culture across the world. As long as bands such as yourself exist, I don't think we'll have to worry about the Cajun culture fading away for a long time.

Just pure and sweet music.......2004-01-04

I hav seen Beausoleil Every time they came to the Bluegrass and Cajun Festivle, in Rhode Island. This cd is a must have. The music brings me right back to the many times I have seen them play. As a matter of fact, it's 2:15 a.m., Have the headphones on and have it cranking.

Chime Street.......2002-04-09

One day in early March I was wondering around the LSU campus with hours to go before the Tulane/LSU baseball game. On Chime Street I stumbled across an excellent Cajun band right on the sidewalk. Talk about perfect music for a perfect day...They were so good that I took them with me to the "tailgate" at Tiger Stadium before the baseball game. This type of music gets in your head and stays. When I returned home I purchased L' Amour Ou La Folie. There are certain albums/CDs that are great the first time through. Without question, this is one of the best I have ever purchased. It would be silly to try and name the best selection. Each song is better than the next. Merely playing this CD makes you want to visit the great state of Louisiana (as well as get up and move). Not only is the music exceptional, the technical production is too. I have ordered two more Beasoleil CDs. You should listen to this when you are in a good mood, want to be in a good mood or need to be! (P.S. If anyone knows the "sidewalk" Cajun band from Chime Street on March 5th, please e-mail me) They are well worth seeing.

Great!.......2001-03-22

I enjoy this album more every time I listen to it.

Great.......2000-06-16

I could listen to "Eunice Two Step" and "Courir avec Walker" all day long.

Rameau: Règne Amour - Love Songs from the Operas

Average customer rating:

The beauty and grace of French Baroque Opera
A beautiful addition to any baroque music-lover's collection
Good, but I would have cut back on the instrumental movements
A Beautiful Introduction to Rameau's Operas
Excellent introduction to Rameau

Rameau: Règne Amour - Love Songs from the Operas

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Tragédiennes
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski

ASIN: B0001ZXMNQ
Release Date: 2004-06-08

Customer Reviews:

The beauty and grace of French Baroque Opera.......2007-04-29

I hadn't heard of Carolyn Sampson before I bought this CD, and since there aren't any sample tracks for this CD, I was sort of going out on a limb when I bought this CD...but I wanted a Rameau aria CD badly, so I decided just to go ahead and buy it. One of the best buys I ever made. Carolyn Sampson's voice is not the typical colorless, vibratoless, dull voice that you sometimes get with a baroque recital. Instead her voice has radiance, resplendence, and resonance. She has a quick, fluttery, but even vibrato, which is ideal for these arias. But she doesn't use her vibrato on every tone...for example, sometimes she will hit and sustain and crescendo on a note in her upper register without using any vibrato at all and it is one of the most beautiful sounds I've ever heard come out of the human throat. She has a very agile voice, which every singer who attempts any kind of baroque singing should have. Her runs are clean and precise. Her voice is "french" sounding, but it isn't weak or limp...it has a considerable amount of power, and she wields it with an enviable amount of professionalism. The music, of course, is sheer beauty and elegance. I'll take any one of Rameau's simple, lovely melodies over the heavy, dramatic "screamo" arias of Wagner or Verdi. The CD's sound quality is crystal clear. The Ex Cathedra Chorus and Orchestra deliver Rameau's music beautifully and effortlessly. This disc deserves to be played only in your finest stereo.

P.S. Track 17 was recently featured in the 2006 movie "Marie Antoinette"...It's one of my personal fav's :-)

A beautiful addition to any baroque music-lover's collection.......2007-03-03

The lovely voice of Carolyn Sampson is well suited to the truly gorgeous music of Rameau, of which a nice selection is included on this CD. The music itself poses no difficulty for Ms Sampson, and she negotiates the elegant lines and tuplet-endowed sections, along with the intrinsic embellishments of the arias, with ease.

There are many beautiful things in the CD, and for the sheer loveliness of the voice, what a pleasure it is to hear.

As the previous reviewer mentioned, there is a bit of cross-over between this and the delicious "Airs baroque français" by Patricia Petibon - and that is an album I strongly recommend in addition to this. I do personally prefer Petibon's recording, although this CD by Ms Sampson is also charming.

There are a number of reasons for that. Firstly, Petibon is French, and she sings (of course) in perfect French. Ms Sampson's French does not sound entirely French (however, most listeners won't be worried by this). Secondly, Patricia Petibon's understanding of the language also enables her to paint the words and music to convey meaning to an extent that is not equalled by Carolyn Sampson. Again, this won't matter a great deal to most listeners who will primarily be ravished by the lovely sounds of Carolyn Sampson's singing. Thirdly, it's true that there are quite a few purely instrumental pieces on this recording. Not that I particularly object... I love both Rameau's vocal music and his instrumental music, but in general when one purchases a vocal recital album, that's what one wants - a vocal recital.

The differences between the two singers' approach is exemplified mostly in the arias which are sung by each - that is, Rameau's "Soleil, fois de ces lieux !" and "Formons les plus brillants concerts... Aux langeurs d'Apollon". There is more "coeur" in Petibon's singing, but Ms Sampson offers her own attractions in her singing, of course. It's the lovely clarity of her voice that will appeal - it's a light and well-focused soprano timbre with considerable agility and a beautiful evenness throughout the range.

I enjoyed this album very much, and Carolyn Sampson's fresh and shining voice is extremely attractive to listen to. I have listened with pleasure to almost everything this very gifted singer has recorded, and she is certainly a singer whose recordings are worth collecting.

Recommended.

Good, but I would have cut back on the instrumental movements.......2006-09-18

I like this CD a lot and I have listened to it many times since I bought it. Carolyn Sampson has a fine soprano voice and a great vocal technique. I have enjoyed her singing for some time and her contributions to the King's Consort recordings of cantatas by Kuhnau, Zelenka, Knüpfer and Schelle were highlights for me.

I have few complaints about this disc, but I would have liked a few more vocal works and slightly less instrumental movements from the operas. However, as a "walk through" Jean-Philippe Rameau's operas, this CD is first class. There are so many Handelians around these days, endlessly singing the praises of the "Beloved Saxon", it is easy to forget that Rameau was easily as great as Handel in most areas and he certainly was a much more imaginative and skilled composer of orchestral music than his British-based peer. Whenever Handel had more instruments at his disposal, what did he do? He had the extra instruments play in unison with existing musical lines.
I digress.

I also have Patricia Petibon's incredible "Virtuoso French Baroque Opera Arias" CD, which is, in my opinion, utterly beyond any serious criticism. I was eager to compare Ms Sampson's interpretations with Mademoiselle Petibon's slightly older recording. Carolyn Sampson does well, however, in "Aux langueurs d'Apollon", it is clear to me that she just can't touch Patricia Petibon in realm of imagination, characterisation, wit and style. Sampson's La Folie seems to be polite and charming - as opposed to Petibon's La Folie, who really is quite mad.

Sampson does use more vibrato than Petibon, who uses virtually none. Listeners who aren't attracted to HIP interpretations of Baroque music will probably thus favour Sampson's interpretations over Petibon's.

Carolyn Sampson's interpretations of the slower and less extrovert arias are very good indeed. Her "Soleil, fuis de ces lieux" is very attractive and not inferior to Petibon's in any way. I just wish someone had brought the great aria "Triste apprêts, pâles flambeaux" from Castor et Pollux to her attention. Ms Sampson would have done something very nice with that great Baroque aria.

I love this CD and it makes for some great listening. Needless to say, the experience of Patricia Petibon in French Baroque opera gives her a considerable edge, but Sampson's is a highly worthy recording.

A Beautiful Introduction to Rameau's Operas.......2006-04-25

I had the pleasure of hearing high tenor Jean-Pierre Fouchard and the Opera LaFayette perform a recital of Rameau's operatic music during a snowy February afternoon concert at the University of Maryland. I wanted to hear more Rameau opera and found this excellent CD with a program similar to the one I heard live, but for a soprano voice. This CD on Hyperion, "Love Songs from the Operas" features soprano Carolyn Sampson and Jeffry Skidmore conducting the choir and orchestra of Ex Cathedra, an English early music ensemble, similar to the Opera LaFayette of my own home town, that performs in period style on period instruments. The CD is a wonderful way to get to know Rameau.

Jean-Phillipe Rameau (1687 -- 1764) began composing operas at the age of 50. (Together with his near-contemporary, Domenico Scarlatti, Rameau shows there is hope yet for us late-bloomers)
With their emotional passion, harmonic daring, and unmistakable rhythms, Rameau initiated a new age in French opera. A figure of the Enlightenment in music, Rameau went far towards initiating the classical style of Gluck and Mozart. French opera during Rameau's time was largely a mixture of dramatic stage material and musical interludes known as divertissiments. Thus, his musical accomplishment can legitimately be approached by a selection from his various operas, as offered on this CD and in the live performance I mentioned above.

Sampson and Skidmore offer selections from seven Rameau operas, including his first opera Hipolyte et Acis of 1733, and including as well Les Indes galantes, Les Paladin, Plate, Zoroastre, Dardanus, and Pygmalion. Many of the works include collections of musical interludes from the divertissiments, while others are solo selections. There is a great variety of music on the recording, including a surprising amount of comedy material and, in Platee, Rameau's satire of the florid, melismatic style of Italian opera. Much of appeal of Rameau's music results from the interplay between simple melodic lyricism and the variety of his orchestration, particularly for winds. Flute, oboe, bassoon, and percussion are all well in evidence here. I particularly enjoyed some of the slower more serious ariettes, including "Soleil fuis du ces lieux" from Plate and "Regne Amour" from Zoroastre. Several of the selections show the origins of French baroque music in the dance and feature lively orchestral introductions followed by solos. There are two fine examples in the opening divertissiment from Les Indes Gallantes. Strongly structured and rhythmic orchestral interludes are offered in "Tambourin" from Dardanus and in the minuet and rondo from "Les Indes Gallantes." And the choir is featured in selections from Plate. But Ms Sampson's clear, passionate, and idiomatic soprano remains the chief attraction of this CD.

In his study, "French Baroque Music", James Anthony observed (p. 129) that "In terms of musical statement, there is no question but that [Rameau] is the greatest composer of the French eighteenth century; there is also no question that, among all the first line composers of that century of giants, he is the one least appreciated today." For those who lack the good fortune I had in hearing a live recital of Rameau, this CD provides an introduction to the beauty and power of his operatic music.

I am pleased that this CD has already attracted the attention of two excellent and thoughtful reviewers.

Robin Friedman

Excellent introduction to Rameau.......2006-01-09

I just want to add a few comments on this disc, which has already been very well reviewed: I've enjoyed some of Rameau's keyboard music, but can't say I've been thoroughly captured by his operas. This disc proved to be an excellent exploration of Rameau's vocal music, and I highly recommend it. Carolyn Sampson has a light, fresh voice with great appeal. The selections include pieces from several of the lesser-known operas that are real gems, along with more well-known items (within the Rameau orbit, which is arguably underappreciated). The accompaniment, by Jeffrey Skidmore and Ex Cathedra, is superb--delicate when required, or bustling along, but never intrusive, and lacking that "Original Instruments" edginess that some of us find irritating at times. The sound is typical Hyperion--first rate, if slightly recessed.

If you have any interest in this repertoire, but haven't found the right place to dive in, this ought to do the job.

Average customer rating:

Great second album of the 80s
The Stranglers at their Best
Sick? Nah, just misunderstood.................
Sick??!?!
SICK, SICK, SICK

La Folie
The Stranglers
Manufacturer: Caroline
ProductGroup: Music
Binding: Audio CD

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Raven (+4 Bonus Tracks)
The Meninblack
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No More Heroes
Rattus Norvegicus

ASIN: B00005MAGC
Release Date: 2006-11-21

Tracks:

Non Stop
Everybody Loves You When You're Dead
Tramp
Let Me Introduce You To The Family
Ain't Nothin' To It
The Men They Love To Hate
Pin Up
It Only Takes Two To Tango
Golden Brown
How To Find True Love And Happiness In The Present Day
La Folie
Cruel Garden
Cocktail Nubiles
Vietnamerica
Love 30
You Hold The Key To My Love In Your Hands
Strange Little Girl

Amazon.com

Isolationist, misanthropic, and cantankerous, punk survivors the Stranglers were never a band known for ostentatious displays of affection, at least not to music journalists. However, 1981's conceptual La Folie (roughly translated as "madness") has become known in band circles as the Stranglers "love" album. Typically, these were no ordinary chansons d'amour. Songs of faith, familial strife, devotion, and dependency--spanning religion, celebrity obsession, lust, death, and drugs--the nearest the album got to being superficially palatable was on the gorgeous, harpsichord-strewn "Golden Brown," ex-jail-bird Hugh Cornwell's paean to the seduction of heroin. And then there was the chilled-out title-track, six sultry minutes of J.J. Burnel reciting--entirely in French--the true story of a Paris-based student who murdered and ate his girlfriend.

The Raven aside, La Folie found the Stranglers at their most instrumentally dexterous and melodically inventive: witness Burnel's nomadic bass lines, the discordant Four Freshmen harmonies on "It Only Takes Two to Tango," Cornwell's barb at the commercialized martyrdom of deceased pop stars on the waspish "Everybody Loves You When You're Dead." There are some great should-have-been singles too, like "Non Stop" with its cheesy organ licks, and the perky, salacious synth-pop of "Pin Up." Even the bonus tracks are excellent--"Strange Little Girl" (a Top 10 hit and a song covered by Tori Amos) and its even better B-side, the Hot Club de Paris pastiche "Cruel Garden." La Folie is easily the most underrated album from Britain's most underrated band. --Kevin Maidment

Album Description

UK repackaged reissue of 1981 album, includes new artwork with extensive sleeve notes & previously unseen photos. 17 tracks including six bonus tracks, 'Cruel Garden', 'Cocktail Nubiles', 'Vietnamerica', 'Love 30', 'You Hold The Key To My Love In Your Hands' & 'Strange Little Girl'.

Album Details

Digitally Remastered and Repackaged with Bonus Tracks, Fresh Artwork, Extensive New Sleevenotes and Many New, Previously Unseen Photos.

Customer Reviews:

Great second album of the 80s.......2007-04-13

One of the best I've heard from the band - I'd rank it in their top 3 of their work with Cornwell (except for No More Heroes and 10 - haven't heard those yet), with my other top picks being The Raven and The Gospel According to the Meninblack - The Raven's my favorite, and it's a toss up between Gospel and La Folie.

Like the main review says, this is their most musically skilled album besides The Raven - reminds me alot of that one in how audible and dominating the guitar is, as apposed to Rattus Norvegicus and Black and White, where it's even hard to tell if there's guitar in the song sometimes (and while it's dominating half the songs on Rattus, the guitarwork sounds very simplistic compared to here), or Aural Sculpture, which while great, has little guitarwork from the brillant Cornwell.

The first four tracks on here are possibly one of the best sets of opening tracks for a Stranglers album. Non Stop has poppy, but great, keyboards by Greenfield dominating the song, with simplistic and catchy guitarwork by Cornwell. Fantastic vocal performance by Cornwell that fits the song just right, and as with every track on here, Burnell drives it on with his imaginitive and catchy bass line. Everybody Loves You When You're Dead has good interplay between all four instruments on the introductory part, this one's mostly dominated by bass and keyboards - some really funny lyrics on this one, like "They laugh at you with your trousers down, and pick they stones so they will match your head", with the right atmosphere and attitude provided vocally by Cornwell. Tramp almost made me think the band had returned to their early days, with the name of the song and such - but nevertheless, this is one of the best songs on this album. Harmonic vocals, buzzing keyboards, syncopated and driving drums, and another great bass line all come together to form a mighty fine song here. By all means, this should have been chosen as the second single instead of the title track - the title track is great alright, but in terms of which song had a better chance of continuing the band's popularity, Tramp probably had better chances than La Folie ended up doing. Let Me Introduce You To The Family draws you in with Black's bass drum, followed by fluttering bass sounds, until the odd guitar comes in, supporting by the pulsating bass - never heard anything like this here, but it doesn't matter because it's very catchy and is probably some of the best guitarwork on this album. Interesting lyrically too, with its mafia undertones.

Ain't Nothing To It is one I feel is a weaker track here, but The Men They Love To Hate is fairly good. Really good drumwork throughout here by Black - this track shows how underrated he is not only as a drummer, but also how well he can keep a good rhythm. The guitars and keyboards go hand in hand here, usually following the same melody and notes. Pin Up has more catchy keyboard work by Greenfield along with another great vocal showcase by Cornwell. Golden Brown has not only the best vocals on here by Cornwell, besides Pin Up and Tramp, but the harpsichord / keyboard interplay is very interesting and flows together extremely well - the guitar bit is very harmonic as well. The whole feel of this excellent song is just plain soothing - how ironic that it's most likely about heroin? It's no surprise that this became probably the band's biggest hit. The title track is equally as soothing, with some great Greenfield keyboard work, excellent Burnell bass work, and sparse drums as well as guitar work. Even though I don't understand what Burnell is saying at all (I don't really know French), he still sings very well here, one of his best vocal performances most likely.

Of the bonus tracks, the only ones worth mentioning, as I see it, are Vietnamerica and Strange Little Girl. Vietnamerican has good vocals, driving bass, and jittery keyboards - sounds really good for a B-side. Strange Little Girl has some of the best keyboards I've heard Greenfield come up with - they dominate the song and add a soothing atmosphere to it, with a fifth fantastic vocal showcase by Cornwell - too bad he's more involved with vocals on this song than guitar, as there's only acoustic guitar present here, and not much of it.

Overall, the great songs on here, combined with the outstanding musicianship of all four of the original bandmembers makes this a great album to listen to for any Stranglers fan.

The Stranglers at their Best.......2006-02-14

In response to the reviews below; I'm afraid you are both aesthetically AND intellectually challenged if you can't enjoy this record because of the subject matter.

It's your loss.

But then again, The Stranglers aren't for everyone...

Sick? Nah, just misunderstood........................2004-03-09

"La Folie" is just a tale about some Japanese student that practiced cannibalism. That's it. The ACT and the GUY was sick, but the album isn't just about cannibalism. It's witty, melodic and quite poetic. The classic "Golden Brown" is what sets the tone on this album. "Let Me Introduce You to the Family", is a romping, rhythmic sarcastic view of the dynamics of a family. My favorite song on this album. The new addition, "Cruel Garden", is a wonderful tribute to the music of Django Reinhardt, the great jazz guitarist. The keyboards, bass, Hugh Cornwall's (edited because facts are friends!) haunting and beautiful voice are the real stars. Buy this CD and ignore all the hype.

Sick??!?!.......2003-08-25

this is a good stranglers album-not their best but to be fair, the last decent one they ever did.
i cant understand why a song about canabalism would get somone so uptight though,(lets pray this guy never gets to see a film about Hannibal Lecter, eh?)
having said that, the song "la folie" is actually about a Japanese student who studied in France, who ate his room mate because he claimed that there is no greater love,he was put away and when released he became a big celebrity.
best song on this album is "Tramp" easily
im now off to eat somone!

SICK, SICK, SICK.......2003-07-06

I don't care how many good things you can say about this band. I don't care that the keyboard player is as inteligent as Ray Manzarek of the Doors. The beautiul yearning harpsichord in Golden Brown, the magnetic radioactive reverbed bass in The Man They Love to Hate, all of this makes no difference. The reason?
There's the title track. I can handle songs about nuns, Reagan getting turned on by Breshnev,and a peon to John Lennon (Everybody Loves You When You're Dead) complete with illustrations of Che Gueverra. But "La Folie" goes too far. These guys are sicker than Black Flag, the Germs, and Fear all rolled into one. Musically, the album is stunning, and I've enjoyed it for twenty years. But I can't accept a song about a Frenchman cannibalizing his own girlfriend. I would havc never known, because my French is weak on gerunds, participles and subjunctives By troubled circumstance I read amazon.com's feview and almost lost my marbles. Get rid of this thing -- it doesn't belong in Western Civ. Maybe the album is a good thing to train lab rats to, but I'm holding out for U2.

Baroque Masterpieces for the Harpsichord

Average customer rating:

Baroque Masterpieces for the Harpsichord

Manufacturer: Mercury
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

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Greatest Hits: Harpsichord
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ASIN: B00000IIX7
Release Date: 1999-04-13

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Dances For Harpsichord: 1. Pass'e mezzo antico di sei parti
Dances For Harpsichord: 2. Saltarello del ditto pass'e mezzo
Dances For Harpsichord: 3. Padoana ditta la Ongara - l'Ongara a un'altro modo
Dances For Harpsichord: 4. Ballo ditto il Picchi
Dances For Harpsichord: 5. Todesca - Balletto
Dances For Harpsichord: 6. Ballo Ongaro - il suo Balletto
Dances For Harpsichord: 7. Ballo detto il Steffanin
Dances For Harpsichord: 8. Ballo alla Polacha - il suo saltarello
1. Aria detta la Frescobalda
2. Corrente In F Major
3. Five Galliards
4. Twelve Partite sopra l'Aria di Ruggiero
Bourree alla Polacca
Les Folies d'Espagne
1. Sonata In F Major, K. 541
2. Sonata In A Minor, K. 175
Sonata In E Major, K. 381: 3. Sonata In E Major, K. 381
Passacaglia In D Minor

Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano

Average customer rating:

Not a flawless version, but one to be REALLY loved
The best of a mediocre-to-bad lot
Hoffman contines to elude the recording world
Excellent but not definitive
O Dieu, de quelle ivresse embrasse-tu mon âme?

Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna
Massenet - Werther / Alagna · Gheorghiu · Hampson · Petibon · Courtis · Fouchécourt · Frémeau · LSO · Pappano
Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli
Russian Album

ASIN: B000005E4D
Release Date: 1996-10-29

Tracks:

Les Contes D' Hoffmann: Prelude - Kent Nagano
Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
Les Contes D' Hoffmann: Serviteur - Kent Nagano
Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano

Tracks:

Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach

Tracks:

Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach

Amazon.com

Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick Stearns

Customer Reviews:

Not a flawless version, but one to be REALLY loved.......2006-05-09

This is a recording with significant highs and lows. But in overall it is an excellent account of this wonderfully tuneful and beloved opera.
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.

The best of a mediocre-to-bad lot.......2003-10-30

I have heard six recordings of "Hoffmann," an opera that is particularly dear to me for sentimental reasons. None of them are perfect, all have flaws, but on balance this is the best of the lot.

Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.

I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.

That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.

Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)

This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.

The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)

Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.

Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.

Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).

An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.

Hoffman contines to elude the recording world.......2001-10-03

This is a very good Hoffman, with the new edition of the score and a lot more music than in earlier editions. There is MUCH here to be admired and enjoyed as there is in the classic Domingo/Sutherland recording.

I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.

On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.

No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.

Excellent but not definitive.......2001-04-20

This recording has given me many hours of listening pleasure. Pretty much every artist featured in it gives an excellent performance, and the greatness of Offenbach's opera is conveyed more fully than can be done by other performances that contain less of what he composed for "Hoffmann" before his untimely death. However, the recording has several specific faults that result in my giving it only 4 stars, even though it is among my favorite operatic recordings.

First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....

Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of notes almost identical to one sung by Dessay as Olympia in Act II, emphasizing the connection of the heroines. ...Lascarro does a very good job in the small role of Stella (....Dubosc is excellent as the Muse and Nicklausse, giving a truly memorable performance of nearly the entire role. Unfortunately, Nicklausse's Antonia-act aria, arguably the artistic and emotional heart of the entire opera ...,seems somehow disappointing on this recording. Dubosc's voice does not cut through the orchestra as it should when she sings in her lower register, and as a result the aria fails to have the cathartic impact on me that it has when I have heard it in Metropolitan Opera broadcasts. .... Ragon gives an excellent, highly memorable performance in the four "grotesque" roles.

Now I may turn to the disappointing features of this recording. ....(T)his recording contains no extra-musical sound effects whatsoever. To a certain extent this is a valid approach to recording an opera. The problem is that "Hoffmann" contains an unusually high number of passages which were composed with the extra-musical sounds that would be heard from the stage in mind and which lack some of their intended impact without sound effects. The effectiveness of the students' drinking song is reduced when we don't hear them banging their glasses together and on the tables, and without the winding-up sound the pauses in Olympia's song when she runs down make less sense. We also should hear Coppelius smashing Olympia, Hoffmann and Schlemil moving around heavily as they duel, the death-gasp of another character who dies in the new ending of the Giulietta act (I won't spoil the unfamiliar twists of plot here), and various other sound effects which would add to the drama of the story. Moreover, Van Dam's villains never laugh except when their laughter is notated in the score, even though the libretto specifies some additional evil laughs, notably the one as Dr. Miracle disappears and Antonia falls dying at the end of the trio for Miracle, Antonia and the voice of Antonia's mother.

One of the main problems with the recording is that Van Dam, Ragon and Dubosc are the only performers to play multiple roles. Not only are the heroines played by four different sopranos, but none of the artists who play Luther and the students reappear in other roles in the acts devoted to Hoffmann's three stories. All of this goes against what are presumed to be Offenbach's wishes for his opera, despite the fact that this is a recording of Kaye's critical edition (in its "grand opera" version). Moreover, this recording was, unfortunately, made before Offenbach's own finished finale for the Giulietta act, written very shortly before his death, became available for inclusion in Kaye's edition. ....

Finally, it seems bizarre that the aria "Scintille, diamant," which has been one of the most popular numbers in the opera for a long time, is not included on this recording. ....

Despite these flaws, this recording is recommended. It is extremely enjoyable and represents the totality of Offenbach's intentions for "Hoffmann" more fully than any other recording currently available. One hopes that a new recording of Kaye's edition, with the definitive ending for the Giulietta act and with a single soprano playing all four heroines, will be made in the not-too-distant future.

O Dieu, de quelle ivresse embrasse-tu mon âme?.......1999-11-21

Comme un concert divin ta voix m'a pénétré!....

Tracks:

Sonata In D Minor, Op. 5 No. 12
Les Follies d'Espagne
Primo e Secondo Libro di Toccate: Folia From Toccata No. 7 (Primo tono)
Trio Sonata In D Minor (Variations On 'La Folia'), RV63 (Op. 1 No. 12)
12 Variationen uber die Folie d'Espagne, Wq118,9,H263
Concerto Grosso 'La Folia' (After Corelli)

Customer Reviews:

A unique but limited compilation.......2005-07-11

I was drawn to this album for its unique compilation of "La folia" (pronounced "la foh-LEE-ah," literally meaning mad or empty-headed) -- arguably "the most lasting and famous tune in Western music" and "one of the most remarkable phenomena in the history of music," according to a breathtakingly comprehensive Web shrine, "La folia, a musical cathedral," which explores the hidden world of this famous 16th-century theme and endeavors to list all derivations and interpretations of it. The motif, with its characteristic harmonic pattern, has fascinated composers to the present day (many samples, including many by modern composers are available on that Web site).

Truly, as a theme and variations, this CD may seem repetitive and boring to some. That would be a matter of personal taste. However, I am rather fascinated with it, even more so as I have learned of its history. Among the most famous and influential variations (and my favorites) are those of Arcangelo Corelli (Track No. 1) and Antonio Vivaldi (Track No. 4). I also enjoy the Geminiani. (...)
For a bit of concise background, I excerpt and adapt a few paragraphs from "La folia, a musical cathedral." Its roots (linguistically, metaphorically, musically) of madness, dance, folly, fertility, and pleasure have captured the imagination of many. The taste offered by "La Folia, Variations on a Theme" is perhaps not yet the definitive collection, but for those entranced by La folia, it whets the appetite for more:

"'Folía' (modern spelling; the old spelling lacked the accent, as was the norm in Spain during the sixteenth and seventeenth centuries) is of Iberian origin and refers to a fertility dance in three-four time originating in the late 15th century. In music Folia meant, at least till the 1670s, a very quick-paced and tumultuous dance, in which the dancers carried men dressed as women upon their shoulders. They were literally driven mad by the noise and the stirring rhythm. The 'early' Folia is sometimes called Folías españolas while the 'later' Folia might be indicated as Folías italianas. Derived from the Tuscan term 'Folle' (meaning empty-headed) the title Follia (with double LL) is used by many Italian composers. . . . The English word Folly has roughly the same meaning as the Tuscan term. In France the structure and its variations became known as Folies d'Espagne, with reference to its presumed origin. . . .

"What is so special about this tune?

"(1) The instant appeal of the music might be explained in the human's pursuit for balance. Speaking from a musicological point of view we are dealing with almost perfect symmetry and intricate harmonic layering.

"(2) By far the most important reason is that it is very pleasant music to listen to. There is somehow an instant appeal for listeners and composers alike. It even sounds familiar when you have never heard the piece before. . . . Being captivated by the tune is of course a matter of personal taste, for there remain plenty of people who get bored by hearing only a couple of variations.

"(3) From 1672 up to now the theme has not lost its power. . . . Composers are always looking for something that will give a piece instant flavour and character. La Folia variations provide lots of freedom too because there are no fixed numbers of variations to complete nor has there to be any structure between the variations.

"(4) Finally there is the interesting social phenomenon that the music had its roots in popular culture and developed into a stately court dance; from a fertility dance for the people into a courtly flirtation."

Very Redundant.......2005-06-05

I bought this album for one piece, that being track number four. After I listened through the entire thing I found that I only liked tracks four and five, and after listening to those a two more times, I became very annoyed.
For those of you who don't know, La Folia is just a piece with the same repeating pattern. These patterns go on for one hour with this CD and become boring and annoying.
Tracks number four and five are really the only decent tracks on this album.
Don't become dissapointed with this CD like I did.

Corelli's best work........2000-09-01

This is a spectacular performance of one of Corelli's best work La Folia. I highly recomend this CD to people who like boroque music.

Average customer rating:

Great ballet at a bargain price.

Adam: Giselle

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Delibes: Coppélia (complete in three acts) / La Source (suites)
Tchaikovsky: Swan Lake (complete ballet); Wolfgang Sawallisch; Philadelphia Orchestra
Minkus: Don Quixote
Herman Severin Løvenskiold: La Sylphide, Ballet
Adam - Giselle (complete ballet) ~ Offenbach - Gaîté Parisienne ~ Strauss Graduation Ball / Fistoulari, Dorati

ASIN: B0000013XU
Release Date: 1996-01-04

Tracks:

Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Introduction
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Entrjoyeuse des vendangeurs et vendangeuses
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Entrde Loys
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Entrde Giselle
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Retour de la vendange et valse
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: La chasse
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Sc d'Hilarion
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Marche des vignerons
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Pas seul; Pas de deux des jeunes paysans
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Polacca
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Andante
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Pesante
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Allegretto
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Allegretto pesante
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Valse; Pas des vendanges
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Andante
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Moderato
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Allegro moderato
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Allegro un peu lour
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Galop gral
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 1: Finale du 1er Acte et Sc de folie

Tracks:

Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Introduction, halte des chasseurs et apparition des feux follets
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Apparition de Myrthe et cation magique
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Pas des premis Wilis
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Apparition de Giselle
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Entrdes paysans
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Entrdu Prince et apparition de Giselle
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Entrd'Hilarion, sc et fugue des Willis
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Adage
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Variation I: Andante
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Variation II: Andante moderato
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Valse
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Ensemble des Wilis
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Finale
Giselle ou les Wilis : Ballet-Pantomime In Two Acts: Act 2: Lever du soleil et arrivde la cour

Customer Reviews:

Great ballet at a bargain price........2002-07-07

Giselle -- composed in 1841 -- was the first great ballet, and it is a marvel of charm and beauty. Later ballets by Delibes and Tchaikovsky are perhaps more sophisticated than Giselle, but they do not surpass it in beauty and appeal. Everyone who loves great ballet music -- or, indeed, beautiful music in any genre -- should get to know this enchanting masterpiece. Personally I've loved Giselle since I first heard excerpts from it on LP several decades ago, and I love the complete ballet, presented on this 2-CD set, even more. I suspect that Andrew Mogrelia shares my love for this very special masterpiece. If you're already a Giselle fan but don't yet have it on CD, please treat yourself to this bargain set. If you haven't yet heard this lovely work, but love beautiful music, please get Giselle now. Once you've heard it, I think that it will capture your heart as it has captured mine.

Average customer rating:

Natalie Dessay in the French Repertoire: Nicely Done!
Another French Album?!
Le vrai Amour & la Grande Musique
Salut à la France!
Wonderful, but a minor quality control problem

Natalie Dessay - French Opera Arias
Natalie Dessay , Michel Plasson , Jules Massenet , and Jacques Offenbach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Mozart Heroines; Natalie Dessay
Natalie Dessay - Vocalise
The Miracle of the Voice
Natalie Dessay ~ Delirio (Handel Italian Cantatas)
Natalie Dessay - French Opera Arias

ASIN: B0000ZOJZW
Release Date: 2004-01-13

Tracks:

Acte III - Air Du Cours La Reine: Suis-Je Gentille Ainsi?
Gavotte: Obessions Quand Leur Voix Appelle
Fabliau: Rire Toujours? Vous Vous Trompez
Acte II - Polonaise: Oui, Pour Ce Soir...Je Suis Titania La Blonde Philine
Acte III - Aubade: vive Amour Qui Reve L'Ensoleillad
Acte I - Bolero: Profitez de La Vie Mme De Ligneul
Acte II - Grande Valse: Conduisez-Moi Vers Celui Que J'Adore Edwige
Acte I: En Proie A La Tristesse La Comtesse
Acte II: C'En Est Donc Fait...Salut A La France! Marie
Acte I - Valse De Juliette: Ah ! Je Veux Vivre Juliette
Acte IV - Air De La Foile: A Vos Jeux Mes Amis Ophelie
Mort D'Ophelie: Le Voila, Je Crois L'Entendre Ophelie

Amazon.com

Yet again, the fascinating French soprano Natalie Dessay has come up with a winning recital. Canary fanciers can love her without guilt: her high notes are all in place (up to a solid E natural), her skill with fast coloratura is astonishing, her pitch is ideal, and her breath control is massive. But she's as interested in creating character as she is in pure singing. For once Ophelia's long Mad Scene from Thomas' Hamlet is a truly dramatic, heartbreaking event, for instance; similarly, Manon sounds young and sassy, as she should. Rarities by Boieldieu and Offenbach are a joy to hear; "Je suis Titania" and Juliette's Waltz Song are suitably virtuosic and show-offy--she's as good as any of the so-called "Golden Age" sopranos in this repertoire. Her tone remains full and pretty; only the very top notes have a bit of an edge, but this hardly detracts. In short, this is a remarkable recital--interesting pieces, gloriously sung. --Robert Levine

Customer Reviews:

Natalie Dessay in the French Repertoire: Nicely Done!.......2007-03-08

Here, Natalie Dessay sings French arias. All in all, a satisfying album, with a few exceptions as noted below. A few samples of the cuts on this CD.

From Massenet's "Manon," she sings nicely. "Suis-je gentile ainsi" shows off her clear, light, agile voice. She demonstrates a decent trill and nice high note. "Obeissons quand leur voix appelle" is sung at a slower pace. Well sung, with some subtle vocal effects. This closes with a nice run, but a rather harshly sung high note. Then, "Rive toujours." This begins at a slower pace, but picks up. There is some nice ornamentation. For the most part, this is sweetly sung.

Thomas' "Mignon" features a wonderful piece, "Je suis Titania la blonde." Dessay, again, displays an agile and attractive voice. She demonstrates capable coloratura technique, featuring some nicely done appoggiaturas. In the last segment, she manifests a nice trill. Her penultimate high note is a bit harsh. However, she concludes with a very well done set of trills and a good high note.

From Gounod's "Romeo et Juliette," we have "Ah! Je veux vivre." The first part is smoothly sung. Nice characterization by Dessay. There is some attractive and pleasant florid singing at the end. Finally, from Thomas' "Hamlet," she essays "A vos jeux mes amis." Nice effects and good vocal technique are displayed. Her voice is attractive in this cut. Nice ornamentation toward the end. Some good trills and some nicely hit high notes.

This is a fine CD. Natalie Dessay shows her vocal virtues to good effect. She is obviously quite at home on the French repertoire, and this CD demonstrates that statement very clearly.

Another French Album?!.......2005-12-26

Does Natalie Dessay even know how to sing Italian? Whatever. I find her boring and flat. Her middle range drives me batty 'cas it's non exsistent and too sharp for my taste. I have no clue how anyone can compare her to Lily Pons becuase Pons notes were flawless and effortless. I always hold my breath to see if Dessay hits her notes well or if it just comes out piercing and sharp. She's about 50/50. She is no Lily Pons. She's decent but utterly forgettable and frankly I'm not sure why people are so enraptured by her. I find Sumi Jo much more appealing and talented

Le vrai Amour & la Grande Musique.......2004-05-14

Elle musique est si paisible et claire. Natalie Dessaix est épousé au baryton chanteur d'opéra Laurent Naouri. Ils ont deux beaux enfants. Natalie et Laurent ont participé dans les films télévisé nombreux. Dans Orphée aux enfers (1997) elle a joué Eurydice et il a joué Jupiter. Laurent Naouri est présenté dans Rameau 'Hippolyte et Aricie'. Dans cet opéra baroque français,
Naouri dans son aria 'Puisque Pluton' il est destiné à tuer son fils.

Salut à la France!.......2004-05-10

Natalie Dessay is a delight on this CD of arias from 19th century French Opera. The listener can experience a singer who is both concerned about the vocal and interpretative values of each selection of this recital. The first two tracks of the Cours de la Reine Scene from Massenet's 'Manon' show a fresh voice that portrays easily the youth and frivolity of the title character. All the stacattos, cadenzas and high notes are on the service of the character. It is delightful to find some rarities on this recital, like the Fabliau from 'Manon' (an alternative aria that Massenet composed for sustitution of the Gavotte) and the pieces from 'Chérubin', 'La fête du village voisin' and 'Robinson Crusoe'. On the selection by Offenbach, Dessay sings a stunning trill on a Dflat and then goes to expectacular scales, finishing the dazzling waltz with an elaborate cadenza and a firm high E. Another highlight of the CD is the elaborate aria from 'Le Comte Ory' by Rossini, where the soprano's attention to the nuances of the piece bring out a lively interpretation. The aria from 'La fille du régiment' makes us wish for a complete recording of the opera. However, the best part of the CD are the last two tracks. Dessay brings all her gifts to a climax with a marvelous performance of the Ophélie's Mad and Death Scenes from 'Hamlet' by Ambroise Thomas. This version of the Mad Scene is even better than her previous rendition on her last recital of French arias. This is a highly emotional interpretation where all the brilliant scales and cadenzas reflect the changing moods of Ophelie's madness and her despair as well as her innocence. This is the definitive performance of this music on records, period. The Orchestre National du Capitole de Toulouse and the Choeur 'Les Eléments', ably conducted by Michel Plasson, complement Dessay beautifully. In summary, another wonderful CD by one of the most remarkable coloratura sopranos of our time.

Wonderful, but a minor quality control problem.......2004-04-02

Five stars for Natalie Dessay, who has an incredible instrument, and a great selection of arias. But I've listened to 4 copies of this disc and each had a very short "click" at 2:22 on track 2 (the Gavotte from Manon). Must be a quality control problem. Maybe it was just a bad batch.

Anyway, Dessay's voice is a force of nature; she must be one of the greatest coloraturas ever. I prefer her live version of Handel's "Tornami" from Alcina to Sutherland's. And she's incredible on Orphee Aux Enfers - not only a wonderful singer, but obviously a great actress and comedienne.

So, if you've not heard her before, give this album a try - ignore the "click" and listen to a truly angelic voice.

Tracks:

Lakme - Acte II: Air des clochettes : (Ou va la jeune indoue)
Le Rol malgre lul - Acte II: Chanson tzigane : 'Il est un vieux chant de Boheme'
L'eole des maris: Air du Feu : 'Arriere ! Je rechauffe les bons'
Le Pardan de Ploermel: Air : 'Ombre legere'
L'Ecole des maris - Acte II: 'O ciel, pardonne encore... De tout temps la gent masculine'
Hamlet - Acte IV: Scene de la folie : 'A vos jeux mes amis'
Medee: Premier Tableau - Air : 'Chers Corinthiens' - Creuse
Les Contes d'Hoffmann - Acte II: Chanson : 'Les oiseaux dans la charmille' - Olympia
Les Mamelles de Tlreslas - Acte I: Scene : 'Non, Monsieur mon mari' Therese
Mirillle - Acte I: Valse-ariette : 'O, legere hirondelle' - Mireille
Les Caprices de Marlanne - Acte I: Air : 'O, amour, mysterieux armour' - Marianne

Customer Reviews:

Delightful..........2006-06-08

The repertoire on this CD is amazing; it's not easy to find a CD with some of this arias, that are rarely found in recordings (like "O legere hirondelle"). Also, her singing is fantastic: her voice is light and clear, pure high notes and amazing runs. She's a great coloratura! And I believe that this is a great CD to have.

You want a French Coloratura? Buy Lily Pons instead.......2005-12-26

Natalie Dessay, while a true coloratura and nothing else but a coloratura, has incredible high notes (but not as incredible as Mady Mesple or Pons, those will stop your heart cold, they are so amazing) but lacks in middle range and her interpertation is rather non exsistent. I heard that is is a gifted actress but none of it reads in her recordings. Her tone is often grating and usually seems slightly forced. I prefer before my time singers such as Maria Callas, Joan Sutherland, Medy Mesple (if you have not heard her, buy a cd NOW!) and of course, Lily Pons whose high notes are so effortless and breathtaking they don't even seem human. Natalie Dessay, sadly, does not impress me at all and frankly I don't understand why everyone is so enraptured with her. She's fine and yes, talented, but I'm just not feeling her singing. It just doesn't work for me. Wish she'd stop singing all the french, I get it, you're french but putting out like three french albums in a relatively short timeframe is kind of overkill.

Dessay Sparkles in Familiar and Rare French Opera Arias.......2004-05-15

Natalie Dessay is, without a doubt, one of the most impressive coloratura sopranos of this century. And there is no better way to experience her voice and artistry than to hear her singing in her native tongue. This CD presents Dessay in a refreshing presentation of arias from both the nineteenth and twentieth centuries, combining both well known music with some more modern rarities. The recital begins by presenting the soprano in music that fits her like a glove, "Où va la jeune indoue", the Bell Song from Delibes 'Lakmé'. It is a joy to hear Dessay creating a dreamy atmosphere, with full attention to the words and fearless in her attack of stacatti and high notes. She even sings the final high E in a crescendo. This Cd is high note feast, up to a sustained high A flat in "Ombre légère" from Meyerbeer's 'Le Pardon de Ploermel'. However, the stratopheric high notes are only part of the assets of Dessay. She is also willing to concentrate on character, something specially evident in the pieces from more modern operas. In "Arrière! Je réchaufe les bons" from Ravel's 'L'enfant et les sortilèges' her use of portamento makes this Fire commanding and menacing. Another delight is the feminist aria "No Monsieur mon mari" from 'Les Mammelles de Tirésias'by Poulenc she is a dynamo of energy and humor. Her Olympia and Ophélie are in the tradition of the great French coloratura sopranos like Pons, Robin and Mesplé. The CD ends beautifully with a sweet and poetic rendition of "O, amour, mystérieux amour", an unknown jewel from 'Les Caprices de Marianne' by Sauguet. This aria ends the recital in a high note both literally and metaphorically, with Dessay in a spectacular cadenza with pin point stacattos and a stunning high E than begins softly then goes louder until it goes again to pianissimo. The Orchestre Philarmonique de Monte-Carlo conducted by Patrick Fournillier complement Dessay's artistry beautifully. There are no weak point on this recital: these are sixty five minutes of pure joy.

Highly Enjoyable.......2003-06-04

To compare Dessay to Mado Robin or Erna Sack or Mady Mesple is simply ludicrous. She is in a different class. She can charachterise better than all of the above, she reaches all the notes with more ease, and she simply has the agility which none of those artists really have. Mesple was good for other things, but she wouldn't sing this repertoire, so please, spare us the gumph. Dessay is a fabulous artist, a light colloratura that travels with ease in the stratospheric heigths of the arias she performs. While there is not much on this disc of heartbreaking depth, it is very well sung. Occasionally the voice strikes one as a bit piercing, but generally there is more warmth than Sumi Jo, and less unsteadiness than Gruberova. I will not enter into a "spot-the-highest notes" contest, but enough to say the high(est) notes are all there. Light but highly enjoyable fare

I can't say enough!.......2001-08-11

Natalie Dessay is the coloratura of our generation! Her voice is extremely impressive. Every album she releases has the vocal fireworks that any music lover wants from their sopranos. This album features some of the world's most beautiful French music. Her "Doll Song" is so fun and full of laughter and of course the high notes. The other highlights for me are Meyerbeer's "Ombre legere" and the "Bell Song" from Lakme. No other coloratura performing today can measure up to the power and strength that Natalie has with those gorgeous notes. She may not warm your heart when down in her mid-range but when she climbs up you can't help but open your mouth and say, now that's a note! Pay close attention to the super high G at the end of "Ombre legere". Wow!