Je T'Aime, Je T'Aime [Import]

Je T'Aime, Je T'Aime [Import]

Track Listings

1. Laura

2. Bye Bye Blues

3. Two Fingers

4. Pom Pom Girl

5. Tchika Tchika

6. Without You

7. The Prisoner

8. Murmur

9. Je T'Amie Je T'Aime

10. Believe (Kid Loco Remix)

11. Tchin Tchin

Editorial Reviews
Product Description
Japanese pressing of the French electronica act's debut album. Signed to the home of Dimitri From Paris, 'Yellow Productions'. Bang Bang is a cross between the aforementioned Dimitri and Air. 11 tracks with 4 previously unreleased, 'Laura',' Tchika Tchika', 'Without You' (Playa Del Sol Remix) Featuring Mary Gallagher & 'Believe' (Kid Loco Remix) Featuring Garry Christian. Standard jewel case. 2000 release.

Tracks:

Meme Histoire
Lumieres de Paris
Gogol
Run to the Mosque/Resolution
Que Linda Manito
Interlude
French Kiss
Elephant Me Regarde
Paris S'Eveille
Katoucha
Bob et Fanny
Then You Can Tell Me Goodbye
Vampire
Caravane
Fantomes d'Oscar Wilde
True
Love's a Bitch
Carol
Pairs Je T'Aime
We're All in the Dance
Tourbillon [*] - Miranda Richardson

Customer Reviews:

movie review.......2007-06-25

Having never been to Paris and always wanting to, this film served as a good introduction to the vast number of neighborhoods that make up the city. The only one i've known about was Montmartre, the neighborhood on the hill which is Paris' highest elevation. But with that said, this film is not really an examination of all these neighborhoods. All they really do is serve as a backdrop to the human drama and comedy that make up the 18?-is-it?, mini-stories that make up this film. Each segment begins with the name of the particular neighborhood the segment takes place in.
The entire film kept me interested throughout except for a couple of the entries. There were moments of positively enraptured elegance and mystery.....I think my favorite segment starred Juliet Binoche as a grieving mother who is visited by a ghostly cowboy played by Willem Defoe who asks her if she wants to see her son. A romantic light/drama set in the overwhelming Paris cemetary was a highlight("friends stab you in the front"-Oscar Wilde) and comic relief with Steve Buchemi set in the Paris Metropolitan(their subway system)was welcomed. A man learns that his wife has leukemia just as he was preparing to split up with her. A comical portrait of a mime takes place around the Eiffel Tower. The final segment featuring a lonely American woman vacationing by herself in the Paris she has always dreamt of reaching, I'm not sure how i feel about it. I feel sad for her despite her segment-ending revelation that Paris has made her understand and appreciate that she is alive. This will be a good purchase when it comes out on DVD. See it in your theaters is you get a chance

Average customer rating:

Paris Je T'Aime
Original Soundtrack
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Movie Scores | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

Soundtracks | Imports | Stores | Music
Similar Items:

Paris Je T'Aime
Once
Amelie
Life in Cartoon Motion
The Reminder

ASIN: B000K2RD5S
Release Date: 2006-11-13

Tracks:

Meme Histoire
Lumieres de Paris
Gogol
Run to the Mosque/Resolution
Que Linda Manito
Interlude
French Kiss
Elephant Me Regarde
Paris S'Eveille
Katoucha
Bob et Fanny
Then You Can Tell Me Goodbye
Vampire
Caravane
Fantomes d'Oscar Wilde
True
Love's a Bitch
Carol
Pairs Je T'Aime
We're All in the Dance
Tourbillon [*] - Miranda Richardson

Average customer rating:

Highlights from Carmen and much more of Bizet

Greatest Hits: Bizet

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Rossini: Greatest Hits
Grieg: Greatest Hits
Mendelssohn: Greatest Hits
Rimsky-Korsakov: Greatest Hits
Debussy's Greatest Hits

ASIN: B000002A9G
Release Date: 1995-06-13

Tracks:

Carmen: Prelude: The Toreadors. Allegro giocoso
Carmen: Prelude: Andante moderato
Carmen: Habanera (Act I)
Carmen: Seguidilla (Act I)
Carmen: Entr'acte (Act I - Act II): Les Dragons d'Alcala
Carmen: Bohemian Dance (Act II)
Carmen: Song Of The Toreador (Act II)
Carmen: Flower Song
Carmen: Entr'acte (Act II - Act III): Intermezzo
Carmen: March Of The Smugglers (Act III)
Carmen: Nocturne: Micaela's Aria (Act III)
Carmen: March Of The Toreadors & Chorus (Act IV)
Carmen: Duet & Final Chorus (Act IV) 'C'est toi? 'C'est moi' - 'Masi moi, Carmen, je t'aime encore'
The Pearl Fishers: Je crois entendre encore (I Hear As In A Dream)
The Pearl Fishers: Ouvre ton coeur (Open Your Heart)
L'Arlesienne Suite No. 1: Prelude
L'Arlesienne Suite No. 1: Minuetto
L'Arlesienne Suite No. 1: Adagietto
L'Arlesienne Suite No. 1: Carillon

Customer Reviews:

Highlights from Carmen and much more of Bizet.......2001-08-05

It is hard to believe that when Georges Bizet's opera "Carmen" opened in 1875 audiences received it indifferently. Bizet was innovative in that he replaced artificial plots and acting in operas with more realistic representations of the human condition (comparable to what Gustave Flaubert did in literature with "Madame Bovary"). Bizet's masterpiece is represented by the first thirteen tracks on this album, so you might wonder why not just go pick up the entire opera and leave it at that? Because Bizet actually did go on and write some other works, the best of which are included in this collection. This CD also includes a couple of songs from "The Pearl Fishers," sung by Richard Tucker and Beverly Sills, and the "L'Arlesienne Suite No. 1. If this CD included the Farandole from "L'Arlesienne Suite No. 2," it would be prefect. But one of the impressive things about this Greatest Hits collection is that all those tracks from "Carmen" come from several different productions. So you have Bernstein, Stokowski and Ormandy conducting, and Jose Carreras, Rise Stevens and the Mormon Tabernacle Choir singing.

Arleen Auger - Love Songs / Dalton Baldwin

Average customer rating:

Arleen Auger and Dalton Baldwin-Love Songs
Voice of experience
Auger at her best
Hidden Treasure
Gorgeous, sensitive music

Arleen Auger - Love Songs / Dalton Baldwin
Frank Bridge , Benjamin Britten , Pietro Cimara , Aaron Copland , Sir Noel Coward , Stefano Donaudy , Stephen Foster , Charles Gounod , Eduoard Lippe , Frederick Loewe , Gustav Mahler , Joseph Marx , Fernando J. Obradors , Jaime Ovalle , Francis Poulenc , Roger Quilter , Franz Schubert , Robert Schumann , Oscar Straus , Richard Strauss , Joaquin Turina , Dalton Baldwin , and Arleen Auger
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

American Soprano
Arleen Auger - Handel · Bach Arias / The Mostly Mozart Orchestra · Gerard Schwarz
Strauss: Ein Heldenleben - Four Last Songs / Auger, Previn
Stefano Donaudy: Amor mi fa cantare
Haydn - Arias & Cantatas / Auger · H&H · Hogwood

ASIN: B0000006VP
Release Date: 1992-05-22

Tracks:

Love Songs: Pastorale
Love Songs: Del Cabello mas sutil
Love Songs: Azulao
Love Songs: Standchen
Love Songs: Selige Nacht
Love Songs: Fleurs
Love Songs: Stornello
Love Songs: Music, When Soft Voice Die
Love Songs: Je t'aime
Love Songs: Love's Philosophy
Love Songs: Widmung
Love Songs: Du bist wie eine Blume
Love Songs: Das Rosenband
Love Songs: Liebst du um Schonheit
Love Songs: Cantares
Love Songs: How Do I Love Thee?
Love Songs: I'll Follow My Secret Heart
Love Songs: Serenade
Love Songs: Liebe Schwarmt auf allen Wegen
Love Songs: Love Went A-Riding
Love Songs: Why, No One to Love
Love Songs: O del mio amato ben
Love Songs: The Salley Gardens
Love Songs: Heart, We Will Forget Him
Love Songs: Before I Gaze at You Again

Customer Reviews:

Arleen Auger and Dalton Baldwin-Love Songs.......2007-01-29

A lovely collection -very varied. Arleen Auger has a beautiful voice and Baldwin's accompaniment is wonderful. The 3rd track, by Jayme Ovalle, is, as it says in the accompanying notes, bewitching, and is actually the reason I bought the CD.

Voice of experience.......2006-01-28

There isn't much I can add to the praise bestowed on this album by earlier reviewers. I do think though that a special poignancy is undeniable since Auger's voice, while still beautiful, clearly is not that of a young singer. Her maturity makes her interpretations of these love songs all the more touching. I've probably played this CD a dozen times through the years, far more than any other in my collection. It remains consistently and deeply satisfying.

Auger at her best.......2005-04-26

This is a disc that I recommend to my graduating seniors/graduate students who are pursuing a graduate degree or career options in Vocal Performance.
From the standpoint of technique, Auger is practically flawless---"harsh" is not a word I equate with Ms. Auger's singing. She and Dalton Baldwin are impeccable performers on this disc. All the material was wisely chosen and presented, including one of the slowest "O del mio amato ben's" and one of the slowest "Salley Gardens", indicative of the beautiful breath control this artist had. I have to take exception to one of the comments made by one reviewer, of the "lack of sesitivity to the music that most classical singers possess". This is plain ignorant. This reviewer clearly does not understand the great artistic endeavor that classical singers have to have with Song literature---only a non-singer could have said this. Our finest classical singers of memory have all been outstanding musicians. They also have texts to interpret in many languages. I, as a singer-performer-teacher take great umbrage at comments like this which serve only to degrade the richness of so much repertoire.
I too hated the untimely passing of this fabulous singer. She is one of four famous women singers who all died at the age of 53. I think this disc was recorded not to long before she passed away and does reflect her "goodbye" to her audience. However the disc will remain as timely as the repertoire in it.
Marcia M.Baldwin, Gig Harbor, WA.
Professor Emeritus, Eastman School of Music, Rochester,NY

Hidden Treasure.......2003-11-04

This recording is possibly one of the best examples of beautiful singing one will ever find. The repertoire, the artfulness, the line and the sheer beauty of Miss Auger's voice is a rare find. I've just recently purchased another copy as I loaned mine to a friend who begged to keep it! One note on the cover - this new cover art seems to imply this CD is some light version of 1970's Montovani romance music. Nothing could be further from the truth. Though the previous jacket (a photo of Miss Auger on pale pink) did look dated, I hope the next pressing of this (& I'm sure they'll be many more to come!) will give this collection the class packaging it deserves. This is a collector's item. Enjoy!!

Gorgeous, sensitive music.......2001-06-15

So first of all, ignore the cheesy cover art and album title. This is a beautiful collection of songs, beautifully performed. Since I concur with the other reviews that laud Auger's performance (though don't forget the accompanist Dalton Baldwin, who is also outstanding), I'll add only the comment that there is a certain melancholy surrounding a lot of the songs and performances that (a) I find haunting and appealing, and (b) you would never know simply from looking at the album.

Tracks:

Nanna's Lied
Complainte de la seine
Klops-Lied
Berlin im licht-Song
Und was bekam des soldaten weib?
Die muschel von margate: Petroleum Song
Wie lange noch?
Roger Fernay: Youkali: Tango Habanera
Der abschiedsbrief
Es regnet
Oscar Hammerstein II: Buddy On The Nightshift
Schickelgruber
Je ne t'aime pas
Das lied von den braunen inseln

Customer Reviews:

No lyrics enclosed.......2007-07-09

It is a disgrace that there are no lyrics enclosed. This is NOT a budget cd.

Superb.......2007-06-27

This is one of the best recordings of Kurt Weill ever and one of the best recordings of the magnificent Teresa Stratas.

Stratas is good. Others are better........2005-10-08

'The Unknown Kurt Weill' sung by Maria Stratas is a fine recording. The problem is that there are many fine recordings of Kurt Weill songs done by Lotte Lenya and several other Weill specialists, lead by Ute Lemper and Gisela May.

So, this album may be valuable if indeed it included a lot of numbers which do not appear on other recordings, but that is not the case either. On my collection of about ten (10) disks, not including recordings from specific shows, I have other recordings of at least half of these songs.

I really think Weill's legacy is better served by recordings who do his complete works rather than 'interesting' selections of his songs.

This is a good, enjoyable recording. I listen to it at least once a year, but it is not as good as other Weill records.

STRATAS WALKS THE RAZORýS EDGEý.......2003-07-11

I don't review many classical recordings - but this one, from 1981, has always been one of my favorite Weill collections, and after reading the rather negative comments from one reviewer, I felt I had to add my two cents' worth to the fray. Everyone is of course entitled to his or her own opinion - and music in SUCH a subjective topic that this should go without saying.

I've been a bug admirer of Weill's work - particularly his collaborations with Brecht - for years. His songs tread the thin, tricky line between classical and cabaret more daringly that most. Brecht's collaborations with Hanns Eisler, for example, are closer to the theatrical than are Weill's. In my humble opinion, Stratas walks this `razor's edge' very nimbly on this recording - her voice is obviously a finely trained instrument, but she is also able of conveying a lot of feeling and emotion with these lyrics. Her choice - or perhaps the producer's - of accompanying here with only a piano is a good one. Woitach does a fine job - and the recording itself is crystal-clear.

My only real complaint with the cd version of this album is the size of the type in the liner notes - Nonesuch could have easily `sprung' for a lengthier booklet, to allow us `old fogies' the opportunity to read it without a magnifier, and also to include the lyrics and translations. I can't recall for certain if the lp version offered the lyrics, but I believe it did. At any rate, these complaints are indeed small ones - this is a timeless, beautiful recording, and one that any fan of Weill's work should at least hear.

Leave Weill enough alone ..........2000-07-08

I don't know just what Lotte Lenya said on her deathbed, but I personally feel that other singers carry the torch for Kurt Weill as well or better than Teresa Stratas. Of all my Weill albums, this one gives me the least pleasure. The German is bad, the interpretations are shrill and forced. Some of the tracks are almost unlistenable. Was Teresa Stratas simply the first world class singer to rediscover this body of work? Was Lenya giving her a sympathy vote? I love Stratas' singing elsewhere, in the Boulez recording of Lulu (for example), but she is no good here.

Tracks:

The Winter's Tale: Fennimores Lied
The Winter's Tale: Casars Tod
The Winter's Tale: Die Moritat Von Mackie Messer
The Winter's Tale: Salomon - Song
The Winter's Tale: Die Ballade Von Der Sexuallen Horigkeit
The Winter's Tale: Zu Potsdam Unter Den Eichen
The Winter's Tale: Nannas Lied
The Winter's Tale: Lied Des Lotterieagenten
The Winter's Tale: Alabama-Song
The Winter's Tale: Denn Wie Man Sich Bettet
The Winter's Tale: Je Ne T'Aime Pas
The Winter's Tale: I'm A Stranger Here Myself
The Winter's Tale: Westwind
The Winter's Tale: Speak Low

Customer Reviews:

Affecting but oversold.......2006-11-28

Prompted by both friends and reviewers, I've tried to learn to like Ute Lemper's Weill, but after valiant efforts, I must say I don't. She has great facility, it's true, in several languages, and she knows the timbre of a song and works hard to put it across. For me, however, she works too hard, whether it's the distracting breathiness of "je ne t'aime pas" or the "street kid" Berlin Rrrs in "Mackie Messer" or the aggressive Noo Yorking in "I'm a Stranger Here Myself", I end up feeling that I'm having the song pushed at me rather than allowed to flower for itself. In a cabaret setting they might (maybe) work better, but on disk, I don't find her vocally strong enough to carry the music alone. Too much wobble in the voice and not always either the breath or the pitch to make the longer phrases work. The comparison with Theresa Stratas in "Je ne t'aime pas" (or even better, the terrifying German version "Wie Lange Noch") is instructive. Lemper is small, touching, you can feel why someone would have left her, she oozes powdery pathos over a nightclub table. Stratas, Piaf-like, is riven by love and music alike and takes the song's lines where they naturally lead. For me, it's no contest.

Great vocalist in three languages. Very best Weill interpreter.......2005-10-01

`Ute Lemper Sings Kurt Weill, Volumes 1 and 2' released in 1988 and 1993, plus the third album of Weill's two most important song cycles in German, `The Seven Deadly Sins' (`Die sieben Todsunden') and `Mahagonny Songspiel' released in 1990 unequivocally established Ms. Lemper as the leading Kurt Weill interpreter since Lotte Lenya, Weill's wife and the singer for whom many of his vocal pieces were written. These three disks, sample pieces from most major Weill works written in German, including his most famous musical play, `The Threepenny Opera' (`Die Dreigroschenoper').

The first disc has fourteen tracks with three from `Der Silbersee' with lyrics by Kaiser, three from `Die Dreigroschenoper' with lyrics by Bertolt Brecht, two from `Berliner Requiem' with lyrics by Brecht, two from `Mahagonny' with lyrics by Mahagonny, `Je ne t'aime pas with French lyrics by Magre, and three from `One Touch of Venus' with English lyrics by S.J. Perelman and Ogden Nash.

The middle disc includes both works performed in their original German. After having listened to `The Seven Deadly Sins' done by several different artists, and having just reviewed a CD on which Anne Sofie von Otter does this work, I discover for the first time that the piece was written in two versions, one for a low voice and one for a high voice. Von Otter does the version for high voice and Lemper does the version for low voice that, I suspect, is the way it was originally performed by Fraulein Lenya. One service done by comparing Lemper and von Otter's performance is to see how much closer Lemper is to the original spirit of the work than is von Otter. Weill's venue was not the opera stages of Berlin or Vienna, it was the popular stage, actually much closer to what we see in the movie `Cabaret' than what we see in `Amadeus'. I enjoy von Otter's rendition, but Lemper stirs my heart where von Otter does not. Lemper also seems to have the benefit of a much better cast of supporting voices on the two works on Volume 1.

All albums are done with the backing of the RIAS Berlin Sinfonietta, conducted by John Mauceri who seems to get just the right tone of sleaze out of his ensemble to match the tone of the composition and lyrics by Weill and his various librettists, especially Berthold Brecht.

Volume 2 showcases Lemper's ability to sing with equal facility and understanding in German (Songs from `Happy End'), French (Songs from `Marie Galante'), and English (Songs from `Lady in the Dark'). While my understanding of French is far weaker than my understanding of the German and the English, when I compare Ms. Lemper's French interpretations with the French of Ms. Von Otter, I definitely prefer Lemper's treatment. She may not quite match Edith Piaf, but I feel she has a cachet all her own.

Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret (See her album `City of Strangers'). Compared to even some of the greatest contemporary American female vocalists on the stage such as Streisand and Minelli, both Yanks have their strength, but they can't or don't try to achieve the same depth of feeling behind the European `Weltschmertz' you hear from Lemper and her forerunners. The closest may be Minelli's performance as Sally Bowles in `Cabaret', but even there, she can't seem to hide her American innocence.

Of the three albums, the first of the three, `Ute Lemper Sings Kurt Weill' may be the best introduction, as it includes two of Weill's best English songs, `I'm a Stranger Here Myself' and `Speak Low'. The third, `Ute Lemper Sings Kurt Weill Vol. 2' has two of Weill's most famous German songs outside of `Die Dreigroschenoper', `Bilbao-Song' and `Surabaya-Johnny'.

If you encounter this review and have never heard Ute Lemper, I strongly urge you to try one of these albums. If the German and French turns you off, try Lemper's recent album, `Punishing Kiss'.

Very highly recommended.

Ute dramatically renders the best of Weill and Brecht!.......2004-09-25

This album is full of many highlights, Zu Potsdam, Die Sexuelle Hoerigkeit, Wenn Die Man Sich Bettet, etc. From beginning to end it is a triumph and masterpiece by the international singing sensation Ute Lemper.

Voice non par excellence.......2004-03-18

It seems that everywhere you turn there is someone "with a unique voice." Usually we nod and upon hearing the voice in question shake our heads and head on to the next great talent. But the trite saying is, for this case, proven beyond a shadow of a doubt.

These interpretations are just incredible, ultra-clear, and just the way one would imagine these songs presented. Several of the selections are more suited to a smoky speakeasy rather than the stage which is just fine by me. Lemper runs the gamut from the catty growl to the ultra-lush to the quiet melancholy to the joyous Bronx of "I'm Just a Stranger Here Myself." The three languages presented absolutely no problems: The German was sufficiently guttural, the French erotic and the English - well, as only English can sound.

A near perfect recording by a near perfect artist.

Ute! She knows how to trill me!.......2003-11-17

I'd never heard of Ute Lemper until I received a brochure announcing her March concert at the Cleveland Museum of Art. I fell for her picture. I saw a women who oozed style, class, and sensuality; she had to be a great singer, right? So I purchased the "Ute Lemper Sings Kurt Weill" CD, and fired it up as soon as UPS delivered. I didn't know what to think. The music was strange, the singing was stranger. Foreign. Had I wasted my money? Did I fall for slick marketing and a pretty face? I listened again...and again...and again... Ute's way of singing these haunting, powerful melodies-her key changes, her haughtiness, her sarcasm, her way of emphasizing key words and phrases, her trills (Oh, those trills)-grabbed me by the throat and shook me in a way that I thoroughly enjoyed. I can't get the songs out of my head. I find myself singing the last two lines of "Caesar's Tod" and "Zu Potsdam unter den Eichen" and the chorus of "Nanna's Lied" at work, auf Deutsche. These songs don't let go! I can't wait 'til March.

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
Similar Items:

Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna
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!....

This recording is undoubtedly one of the two benchmark recordings of this opera, the other one being the classic Sutherland/Domingo/Bonynge set. It is the most complete set with the "newly-discovered" Giuletta ending, and even includes the terrific but apocryphal sextet that is missing in the Bonynge recording. Alagna is the true star here, reflecting the spirit of Hoffmann throughout the opera, and singing in a very ideomatic French (unlike Domingo). The four heroines are marvellous, even though I prefer a single soprano singing all the four roles. Van Dam is great as the four villians, but he could have been more sinister in the trio in the Antonia act. Nagano is fine, but has some problems with the tempi at times.

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Average customer rating:

Very Good

Excellent Weill Alternative to Lenya and Lemper

Everything is right but the style

Intelligent reading from both singer and conductor

Brilliant--The best of the 7 Deadly Sins recordings

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Kurt Weill , John Eliot Gardiner , Anne Sofie von Otter , Bengt Forsberg , Hannover North German Radio Orchestra , Karl-Heinz Lampe , Frederick Martin , Christfried Biebrach , and James Sims
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music
All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music
Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

For the Stars

Stratas Sings Weill

Teresa Stratas - The Unknown Kurt Weill

Sings Kurt Weill, Vol. 2

Anne Sofie von Otter - La Bonne Chanson

ASIN: B000001GM3
Release Date: 1995-03-14

Tracks:

Die Sieben Tods Prologue
Die Sieben Tods No. 1 Faulheit (Sloth)
Die Sieben Tods No. 2 Stolz (Pride)
Die Sieben Tods No. 4 Zorn (Anger)
Die Sieben Tods No. 5 Vrei (Gluttony)
Die Sieben Tods No. 6 Unzucht (Lust)
Die Sieben Tods No. 6 Habsucht (Avarice)
Die Sieben Tods No. 7 Neid (Envy)
Die Sieben Tods No. 8 Epilog
My Ship
One Life To Live
Buddy On The Nightshift
Nannas Leid
Bilbao - Song
Surabaya - Johnny
Das Leid Von Der Harten Nuss
Je Ne T'amie Pas
Schickelgruber
Der Abscheidsbreief
Foolish Heart
Speak Low
I'm A Stranger Here Myself

Amazon.com

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler. --David Hurwitz

Customer Reviews:

Very Good.......2006-01-03

This is a very nice selection of Weill pieces showing the full range of his output. These range from the ambitious Seven Deadly Sins to songs from Happy End to some of his Broadway work. All are very interesting. The performers, particularly Von Otter, are excellent. Recommended strongly.

Excellent Weill Alternative to Lenya and Lemper.......2005-09-29

`Speak Low Songs by Kurt Weill' is a great addition to the performances of Herr Weill's works by the prominent mezzo-soprano, Anne Sofie Von Otter. I have listened to many performances by Weill specialists from the archetype, Weill's wife, Lotte Lenys, for whom many of the songs were originally written to Ute Lemper and Gisela May, who lean heavily toward Lotte Lenya's gravel-voiced interpretation of Weill's songs.

Anne Sofie Von Otter breaks with this tradition and gives us what are easily the sweetest interpretations of Weill's songs from both his German and English works, which I have heard anywhere.

The flagship performance on this disc is `Die Sieben Todsunden' (`The Seven Deadly Sins') which was a cycle of songs to be sung on the stage, accompanied by dances done by a second performer. This takes the first nine (9) tracks and is at least as good as what I have heard from Weill specialist, Lemper. This album is the first time I have noticed that there are two versions of this work, and that Ms. Von Otter is performing the version for soprano.

But, I think the most moving performances come later, especially in von Otter's performances of the three numbers from `Happy End', `Bilbao-Song', `Surabaya-Johnny', and `Das Lied von der harten Nuss' (Song of the Big Shot). I have heard these done by many people, but never so sweetly. These numbers are so lovingly performed that I insist that you ignore the fact that the lyrics are in German. The accompanying booklet gives English translations, which I simply ignore and enjoy the musical talent with no filter. My understanding German has nothing to do with this, as I do the same with French, which I can just barely make out.

Kurt Weill may not be the most important influence on American musical theatre in the 20th century, but he is easily in the top five, along with the Gershwins, Irving Berlin, Richard Rodgers and collaborators, and Cole Porter.

Ms. Von Otter is ably accompanied on this disk by her favorite pianist, Bengt Forsberg plus the Norddeutch Rundfunk orchestra directed by John Eliot Gardiner. While I really like her selection on this disk, the collection makes me wish Ms. Von Otter would do some more Weill and spend less time hanging out with Elvis Costello, but that's a different story.

Everything is right but the style.......2005-09-24

Weill and Brecht defined a nasty age with nasty art, writing some of the grittiest satire in the history of music. In this CD von Otter misses that edge, skirts all the dangerous, sleazy implications, and ultimately sounds too much the opera singer slumming it for an hour. Her earnestness is no subtitute for the right period style, a la Lotte Lenya.

Intelligent reading from both singer and conductor.......2005-01-27

THE SEVEN DEADLY SINS is such a brilliant mini-masterpiece (and, to me, the pinnacle of the Brecht-Weill years) that it is hard to screw up. It is a testament to the staying power of this work (and to the brilliance of Weill's music in general) that it can be performed by the likes of Lotte Lenya, Julia Migenes, Ute Lemper, Judy Kaye, Marianne Faithfull, Teresa Stratas, and -- as here -- Anne Sofie von Otter, and STILL work... and EACH of these women are totally successful in the piece on their own terms.

Here, Anne Sofie von Otter gives us an intelligent (and highly musical) rendering of the text, keeping the musical line very much intact. She sings with vibrato at times, and then will turn around and use straight-tones at moments where it is dramatically appropriate to do so. She balances the performance well, shifting gears between cool detachment (which she is often criticized for) and impassioned outbursts (which her critics often fail to notice).

John Eliot Gardiner surprised me with how easily this music seemed to come to him, especially as he seems to be a man more at home with "Period-Instrument-Mozart" than highly charged 20th century works. However, his reading of "The Rake's Progress" by Stravinsky was totally staggering. For example, his choice beginning the climactic moment of the score ("Envy") as slowly as he does caught me very much off guard at first, and I didn't really care for it at all. However, with each successive listen, I find myself "getting" this choice more and more.

Finally, the "filler." As to be expected, she is more successful with the European material than she is with the songs from Weill's Broadway years. But this is the case with about 99.9% of all opera singers who try to sing Weill's Broadway scores. You will never hear any singer give "Je ne t'aime pas" a more hauntingly beautiful, passionately intense performance than Anne Sofie von Otter. Truly, the ultimate interpretation of one of my favorite Weill songs. "Nannas Lied," "Der Abschiedsbrief," and the HAPPY END selections. However, "My Ship" and "One Life to Live" seem to fail at catching fire -- the former because it is marred by an attempt to sound like a "pop singer," the latter because von Otter sings English better than native speakers (she knows where the ACTUAL emphasis in the phrase "nothing: the thing is to have fun" goes, as opposed to where Ira Gershwin placed it). I also -- surprisingly enough -- don't care for her performance of "Schickelgruber" -- she just seems totally lost to me. (I really think that this song is foreign territory to 'legit' sopranos and mezzos -- I don't even care for the Stratas rendition.) Just when I thought I would have to suffer through another bad batch of "opera-crossover," Anne Sofie turned around and surprised me by giving highly successful performances of the numbers from ONE TOUCH OF VENUS (especially on "I'm Stranger Here Myself").

All in all, a worthy purchase: highly recommended to all fans of THE SEVEN DEADLY SINS and Kurt Weill enthusiasts.

Brilliant--The best of the 7 Deadly Sins recordings.......2002-10-12

Weill, and particularly anything Brecht-Weill, has suffered for too long with interpertations based on tired ham theatrics, burlesques of Lenya's style, to the point where we have come to expect it as the only way to sing this music. Lenya herself is said, late in life, to have commented that a better singer (specifically Stratas at that time) would be more appropriate for properly interpreting Weill's music.

Here, after countless CD releases of the Seven Deadly Sins, is the first recording sung in the key the composer originally intended! The result is relevatory, sublime and magnificent.

Ms. Von Otter interprets the rest of the songs with mixed results--all are lovely, several are excellent, though several others have been handled better by singers with more "theatrical" talents. Nevertheless, this recording stands alone, head and shoulders above the others.

Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin

Average customer rating:

Essential for the chansom junkie. Buy It.
Almost completely wonderful
Indisputable Gallic flair
Idiomatic, fresh, cleanly recorded
the best songs ever ruined by uneven performing

Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Francis Poulenc , Dalton Baldwin , Elly Ameling , Gérard Souzay , Nicolai Gedda , Michel Sénéchal , and William Parker
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Debussy - Mélodies / Ameling · Mesplé · Command · Souzay · von Stade · Baldwin
Fauré - Mélodies / Souzay · Ameling · Baldwin
A French Song Companion
Véronique Gens - Nuit d'étoiles (Mélodies Française) / Vignoles
The Songs of Henri Duparc

ASIN: B000002S31
Release Date: 1992-01-23

Tracks:

LE BESTIAIRE OU CORTEGE D'ORPHEE: I - Le Dromadaire
LE BESTIAIRE OU CORTEGE D'ORPHEE: II - La Chevre Du Tibet
LE BESTIAIRE OU CORTEGE D'ORPHEE: III - La Sauterelle
LE BESTIAIRE OU CORTEGE D'ORPHEE: IV - Le Dauphin
LE BESTIAIRE OU CORTEGE D'ORPHEE: V - L'ecrevisse
LE BESTIAIRE OU CORTEGE D'ORPHEE: VI - La Carpe
COCARDES: I - Miel De Narbonne
COCARDES: II - Bonne D'enfant
COCARDES: III - Enfant De Troupe
5 POEMES DE RONSARD: I - Attributs
5 POEMES DE RONSARD: II - Le Tombeau
5 POEMES DE RONSARD: III - Ballet
5 POEMES DE RONSARD: IV - Je N'ai Plus Les Os
5 POEMES DE RONSARD: V - A Son Page
CHANSONS GAILLARDES: I - La Maitresse Volage
CHANSONS GAILLARDES: II - Chanson A Boire
CHANSONS GAILLARDES: III - Madrigal
CHANSONS GAILLARDES: IV - Invocation Aux Parques
CHANSONS GAILLARDES: V - Couplets Bachiques
CHANSONS GAILLARDES: VI - L'offrande
CHANSONS GAILLARDES: VII - La Belle Jeunesse
CHANSONS GAILLARDES: VIII - Serenade
AIRS CHANTES: I - Air Romantique
AIRS CHANTES: II - Air Champetre
AIRS CHANTES: III - Air Grave
AIRS CHANTES: IV - Air Vif
Epitaphe
3 POEMES DE LOUISE LALANNE: I - Le Present
3 POEMES DE LOUISE LALANNE: II - Chanson
3 POEMES DE LOUISE LALANNE: III - Hier
4 POEMES DE GUILLAUME APOLLINAIRE: I - L'anguille
4 POEMES DE GUILLAUME APOLLINAIRE: II - Carte Postale
4 POEMES DE GUILLAUME APOLLINAIRE: III - Avant Le Cinema
4 POEMES DE GUILLAUME APOLLINAIRE: IV - 1904
5 POEMES DE MAX JACOB: I - Chanson Bretonne
5 POEMES DE MAX JACOB: II - Cimetiere
5 POEMES DE MAX JACOB: III - La Petite Servante
5 POEMES DE MAX JACOB: IV - Berceuse
5 POEMES DE MAX JACOB: V - Souric Et Mouric
8 CHANSONS POLONAISES: I - La Couronne
8 CHANSONS POLONAISES: II - Le Depart
8 CHANSONS POLONAISES: III - Les Gars Polonais
8 CHANSONS POLONAISES: IV - Le Dernier Mazour
8 CHANSONS POLONAISES: V - L'adieu
8 CHANSONS POLONAISES: VI - Le Drapeau Blanc
8 CHANSONS POLONAISES: VII - La Vistule
8 CHANSONS POLONAISES: VIII - Le Lac

Tracks:

5 POEMES DE PAUL ELUARD: I - Peut - Il Se Reposer?
5 POEMES DE PAUL ELUARD: II - Il La Prend Dans Ses Bras
5 POEMES DE PAUL ELUARD: III - Plume D'eau Claire
5 POEMES DE PAUL ELUARD: IV - Rodeuse Au Front De Verre
5 POEMES DE PAUL ELUARD: V - Amoureuses
A Sa Guitare
TEL JOUR, TELLE NUIT: I - Bonne Journee
TEL JOUR, TELLE NUIT: II - Une Ruine Coquille Vide
TEL JOUR, TELLE NUIT: III - Le Front Comme Un Drapeau Perdu
TEL JOUR, TELLE NUIT: IV - Une Roulotte Couverte En Tuiles
TEL JOUR, TELLE NUIT: V - A Toutes Brides
TEL JOUR, TELLE NUIT: VI - Une Herbe Pauvre
TEL JOUR, TELLE NUIT: VII - Je N'ai Envie Que De T'aimer
TEL JOUR, TELLE NUIT: VIII - Figure De Force Brulante Et Farouche
TEL JOUR, TELLE NUIT: IX - Nous Avons Fait La Nuit
3 POEMES DE LOUISE DE VILMORIN: I - Le Garcon De Liege
3 POEMES DE LOUISE DE VILMORIN: II - Au-Dela
3 POEMES DE LOUISE DE VILMORIN: III - Aux Officiers De La Garde Blanche
2 POEMES DE GUILLAUME APOLLINAIRE: I - Dans Le Jardin D'anna
2 POEMES DE GUILLAUME APOLLINAIRE: II - Allons Plus Vite
MIROIRS BRULANTS: I - Tu Vois Le Feu Du Soir
MIROIRS BRULANTS: II - Je Nommerai Ton Front
Le Portrait
La Grenouillere
Priez Pour Paix
Ce Doux Petit Visage
Bleuet
FIANCAILLES POUR RIRE: I - La Dame D'andre
FIANCAILLES POUR RIRE: II - Dans L'herbe
FIANCAILLES POUR RIRE: III - Il Vole
FIANCAILLES POUR RIRE: IV - Mon Cadavre Est Doux Comme Un Gant
FIANCAILLES POUR RIRE: V - Violon
FIANCAILLES POUR RIRE: VI - Fleurs

Tracks:

BANALITES: I - Chanson D'orkenise
BANALITES: II - Hotel
BANALITES: III - Fagnes De Wallonie
BANALITES: IV - Voyage A Paris
BANALITES: V - Sanglots
CHANSONS VILLAGEOISES: I - Chanson Du Clair Tamis
CHANSONS VILLAGEOISES: II - Les Gars Qui Vont A La Fete
CHANSONS VILLAGEOISES: III - C'est Le Joli Printemps
CHANSONS VILLAGEOISES: IV - Le Mendiant
CHANSONS VILLAGEOISES: V - Chanson De La Fille Frivole
CHANSONS VILLAGEOISES: VI - Le Retour Du Sergent
METAMORPHOSES: I - Reine Des Mouettes
METAMORPHOSES: II - C'est Ainsi Que Tu Es
METAMORPHOSES: III - Paganini
2 POEMES DE LOUIS ARAGON: I - C
2 POEMES DE LOUIS ARAGON: II - Fetes Galantes
2 POEMES DE GUILLAUME APOLLINAIRE: I - Montparnasse
2 POEMES DE GUILLAUME APOLLINAIRE: II - Hyde Park
2 POEMES DE GUILLAUME APOLLINAIRE: I - Le Pont
2 POEMES DE GUILLAUME APOLLINAIRE: II - Un Poeme
Paul Et Virginie
Mais Mourir
Hymne
3 CHANSONS DE FEDERICO GARCIA LORCA: I - L'enfant Muet
3 CHANSONS DE FEDERICO GARCIA LORCA: II - Adelina A La Promenade
3 CHANSONS DE FEDERICO GARCIA LORCA: III - Chanson A L'oranger Sec
Le Disparu
Main Dominee Par Le Coeur
CALLIGRAMMES: I - L'espionne
CALLIGRAMMES: II - Mutation
CALLIGRAMMES: III - Vers Le Sud
CALLIGRAMMES: IV - Il Pleut
CALLIGRAMMES: V - La Grace Exilee
CALLIGRAMMES: VI - Aussi Bien Que Les Cigales
CALLIGRAMMES: VII - Voyage

Tracks:

Mazurka
LA FRAICHEUR ET LE FEU: I - Rayon Des Yeux...
LA FRAICHEUR ET LE FEU: II - Le Matin Les Branches Attisent...
LA FRAICHEUR ET LE FEU: III - Tout Disparut...
LA FRAICHEUR ET LE FEU: IV - Dans Les Tenebres Du Jardin...
LA FRAICHEUR ET LE FEU: V - Unis La Fraicheur Et Le Feu...
LA FRAICHEUR ET LE FEU: VI - Homme Au Sourire Tendre...
LA FRAICHEUR ET LE FEU: VII - La Grande Riviere Qui VA...
PARISIANA: Le Joueur De Bugle
PARISIANA: Vous N'ecrivez Plus?
Rosemonde
LE TRAVAIL DU PEINTRE: I - Pablo Picasso
LE TRAVAIL DU PEINTRE: II - Marc Chagall
LE TRAVAIL DU PEINTRE: III - Georges Braque
LE TRAVAIL DU PEINTRE: IV - Juan Gris
LE TRAVAIL DU PEINTRE: V - Paul Klee
LE TRAVAIL DU PEINTRE: VI - Joan Miro
LE TRAVAIL DU PEINTRE: VII - Jacques Villon
La Souris
Nuage
Dernier Poeme
Une Chanson De Porcelaine
LA COURTE PAILLE: I - Le Sommeil
LA COURTE PAILLE: II - Quelle Aventure!
LA COURTE PAILLE: III - La Reine De Coeur
LA COURTE PAILLE: IV - Ba, Be, Bi, Bo, Bu
LA COURTE PAILLE: V - Les Anges Musiciens
LA COURTE PAILLE: VI - Le Carafon
LA COURTE PAILLE: VII - Lune D'avril
Toreador
4 CHANSONS POUR ENFANTS: I - La Tragique Histoire Du Petit Rene
4 CHANSONS POUR ENFANTS: II - Nous Voulons Une Petite Soeur
4 CHANSONS POUR ENFANTS: III - Le Petit Garcon Trop Bien Portant
4 CHANSONS POUR ENFANTS: IV - Monsieur Sans-Souci
Fancy
Colloque

Customer Reviews:

Essential for the chansom junkie. Buy It........2006-10-25

'Poulenc Melodies' performed by a really impressive lineup of vocal talent including Elly Ameling and Nicolai Gedda is exactly the kind of recording you need if you are compulsive about having 'complete' collections of things. This shows a range of composition which smaller releases such as single CD 'Voyage a Paris' (Hyperion, with Felicity Lott and Graham Johnson)can give us. For starters, many of these chansom showed a lot more evidence of more modern stylings and a far greater range of interpretation. In fact, I even had to check the lyrics in the included booklet to verify that on some songs, the performers were singing in French. Even though I have a smattering of knowledge of French, I would have sworn that the singers were performing songs in Russian.

I am happy that all four discs run for more than 60 minutes. No cheap short changing here. If you don't want to spring for the large set, the Hyperion release is great, but this is worth every penny.

Almost completely wonderful.......2005-04-29

Its very considerable advantage lies in its completeness. Poulenc was one of the very greatest songwriters of any era. If you have no Poulenc songs in your collection, start here. The recommendation of Kruysen is a fine one, but only after you have heard this as a basis of comparison. Of Ameling, Senechal, Souzay, Gedda, and Parker, the only disappointment is Parker, who - I'll just say it - sings with his usual bleat. Souzay is a shade past it in vocal quality, but he still understands these songs as well as anybody, with great declamation (and that, after all, is what most of French singing is about). The dryness of the voice is nowhere close to disastrous, as it might have been in Italian opera. Indeed, it lends an air of life lived, without excuses. Gedda is okay. The standouts are Souzay, Ameling, and Senechal. Baldwin accompanies superbly.

Indisputable Gallic flair.......2004-06-06

These performances are piquant and stylistically right on target. Even if Souzay is past his best here, he brings a lifetime of experience to bear and the other performers are wonderful. Ignore the curmudgeon who blasted this set. You will enjoy this tremendously if you love Poulenc.

Idiomatic, fresh, cleanly recorded.......2001-05-12

This is a fine set. Dalton Baldwin accompanies each singer with clarity and zest. And who can resist the affectionate singing of the likes of Nicolai Gedda and Elly Ameling? The "melodies" themselves are magnificent--among Poulenc's finest creations. Whether you have other performances of these works or not, I think you'd be pleased with this beautifully recorded set. Certainly the 70's-vintage performances are more individual in profile, more "romantic," if you will, than those conjured by most of the "anonymous" singers of our own age. Recommended with enthusiasm.

the best songs ever ruined by uneven performing.......2001-05-05

This is a warning for all Poulenc fans NOT to take the bargain route and purchase this immense collection -- you might think you're getting a great deal but: the singing and pianism is substandard and doesn't do the music justice (remotely). Songs like Bonne Journe'e or Ho^tel are all but ruined... Here's what to buy: Bernard Kruysen's CD of selected Poulenc masterpieces (favoring the Elouard settings)... nobody will ever come close to Kruysen in interpreting Poulenc. Avoid THIS CD. They still get 2 stars for (1) being encyclical and (2) delivering clear and even sound quality.

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Average customer rating:

Je Ne T'Aime Pas
Superb musicianship!
An excellent recording by a fast-rising cabaret star

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Manufacturer: Marquis Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Classical | Indie Music | Stores | Music
Similar Items:

Slow Fox
Naked Beauty
Habaneras, Milongas, Tangos
Francis Poulenc (1899-1963) Melodies (Songs)
Teresa Stratas - The Unknown Kurt Weill

ASIN: B0000067TU
Release Date: 2007-01-08

Tracks:

Chanson
La Diva De L'Empire
Elegie
Le Chapelier
Hotel
Violon
La Reine De Coeur
Lune D'Avril
Les Filles De Bordeaux
Le Roi D'Aquitaine
Je Ne T'Aime Pas
Youkali
Berlin Im Licht
Zu Potsdam Unter Den Eichen
Mon Manege A Moi
Non, Je Ne Regrette Rien
One Life To Live

Customer Reviews:

Je Ne T'Aime Pas .......2006-03-02

if i had to pick a favorite song on this cd, that would be the one...i heard this one more than the others. " one life to live," is superb...she did all these songs in one take ! and the passion and romance is undeniable...i had never listened to cabaret before this. i became a fan.

Superb musicianship!.......2002-01-19

This CD is thoroughly enjoyable. O'Callaghan's passionate interpretations of these cabaret/parlour style songs are never less than convincing in their colourful delivery. My particular favorite's are two of the Weill numbers: "Je ne t'aime pas", which is so full of heart-wrenching angst, and "Youkali", because it is so rarely heard. The lesser known works of Poulenc and Satie are also each sparkling little treasures. The musicians all seem to "gel" together beautifully, and one can imagine that they had a really great time recording this disc together. Fantastic artistry!

An excellent recording by a fast-rising cabaret star.......1998-11-04

This first CD by the talented soprano Patricia O'Callaghan is truly excellent. Ms. O'Callaghan has the rare ability to mesmerize the listener through her intuitive and expressive vocal instrument. Her voice and vocal style are unique..she imitates no one. This is the sign of a true artist. The selections, ranging from Poulenc to Weill to a rarely heard gem by George Gershwin, are performed with meticulous attention to detail. Nuances, articulation of the text combined with superb vocal technique are very evident. If you haven't yet purchased Youkali, put it on your definite "to do" list tomorrow!!!

Music:

Music

music

Recommended Music:

Ontinuous Performance [Import]

Robert Brooks Sings Selected Lieder

Night at Birdland [Live]

Music: Time Again

Mine to Give [CD-single]

Second Coming

O Sono De Dolores [Import]

Platinum Collection [Original recording remastered]

Peter Gabriel 3 [Limited Edition] [Original recording remastered] [Import]

Rock & Roll/Fool for

Mouthfull of Ecstasy

Premier Fevrier

Possession with Intent to Distribute [Explicit Lyrics]

Ramirez: Misa Criolla; Navidad Nuestra

Nice 'N' Easy