Savoir & Vivre Ensemble [Import]

Savoir & Vivre Ensemble [Import]

Track Listings
1. Intro
2. L'amour Veritable
3. Ya Chadhli
4. L'enfant
5. Moins De 20 Ans
6. Soultanou L-'Awliya'
7. Ensemble
8. Elle
9. Ya Allah
10. Toutes Les Meres
11. Maryam
12. Tala^A L-Badrou
13. Force
14. Chapitre
15. Al -Bourdah
16. Malgre Les Apreuves
17. Nos Peres Et A Nos Meres
18. Al- Jilani
19. Science Une Lumiere
20. Taha Ya Sakin Galbi
See all 21 tracks on this disc

Editorial Reviews
Product Description
2004 two disc release from the French rap artist. Naive.

Savoir & Vivre Ensemble,Kerry James,Naive,Rap,World Beat

Very Best of
Average customer rating: 5 out of 5 stars
  • A Superstar To Remember
  • I'm am so glad I found this CD!
  • My growing affection
  • A great voice and a great lady!
  • A Bible of Soprano Singing
 Very Best of
Mirella Freni
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Berlin Philharmonic OrchestraBerlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
Paris Symphony OrchestraParis Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
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ASIN: B000083GOK
Release Date: 2003-04-22

Tracks:

  1. Quel Guardo Il Cavalier...So Ancho'io
  2. Si. Mi Chiamano Mimi - Nicolai Gedda
  3. Addio...D' Onde Lieta Usci - Nicolai Gedda
  4. Vissi D'arte
  5. Un Bel Di Vedremo
  6. Son Pochi Fiori
  7. Ecco! Respiro Appena...Lo Son L'umile Ancella
  8. Poveri Fiori
  9. C'est Des Contrebandiers...Je Dis Que Rien Ne M'epouvent
  10. Me Voila Seul...Comme Autrefois
  11. Allons!...Adieu, Notre Petite Table
  12. Je Voudrais Bien Savoir...Il Etait Un Roi De Thule...Ah ! Je Ris (Jewel Song)
  13. Voyons, Nourrice...Je Veux Vivre
  14. O Nuit Divine ! - Franco Corelli

Tracks:

  1. Vedrai, Carino
  2. O Rendetemi La Speme...Qui La Voce Sua Soave...Vien Diletto
  3. E' Stano...Ah! Fors' E Lui...Sempre Libera
  4. Chi Il Bel Sogno Di Doretta
  5. O Mio Babbino Caro
  6. Senza Mamma
  7. Signore, Ascolta
  8. Tu, Che Di Gel Sei Cinta
  9. Son Giunta!...Madre, Pietosa Vergine
  10. Pace, Pace Mio Dio!
  11. Ritorna Vincitor!
  12. Qui Radames Verra...O Patria Mia
  13. Mia Madre Avea Una Povera Ancella...Piangea Cantando... - Stefania Malagu
  14. Ave Maria

Customer Reviews:

5 out of 5 stars A Superstar To Remember.......2007-01-10

I fell in love with opera because of Mirella Freni. I heard her sing Mimi to Pavarotti's Rodolfo in La Boheme about 30 years ago. Hearing this CD was like seeing a long-lost love, and appreciating them even more this time around.

Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.

But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.

There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?

In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.

Highly recommended.

5 out of 5 stars I'm am so glad I found this CD!.......2004-07-17

I'm a casual opera fan and I admit that until a few days ago I didn't even know who Mirella Freni was. Then a friend, whose taste I respect mentioned that an Italian lady named Freni was the second greatest Violetta he'd ever heard. He went into raptures and I decided that I had to hear this woman. This morning I bought the CD, put it in my player and was astounded and delighted to hear one of the sweetest voices I have ever heard in my life. Mirella Freni's singing is simply beautiful.

5 out of 5 stars My growing affection.......2004-05-25

Freni is a soprano I didn't much care for in the past. For some reason I took her for granted and didn't listen to her records a lot. However, in search for an lyric soprano with ample coloratura to tackle bel canto roles as well, Freni was one of the few I could think of who had the qualities I was looking for; unmistakeable Italian phrasing and musicality, a firm middle register with an easy top and a sweet timbre.

This new release is a great introduction to her big recording legacy. She didn't possess the largest instrument but her technique and wise choices allowed her to expand her repertoire in many areas. The lyrical roles such as Zerlina, Mimi, Liu suit her the best but notice how a more florid part like Norina in Don Pasquale or even the more demanding Puritani Elvira benefits from her firm lyric sound. She avoids the highest notes and if needed sings them carefully but everything is so charmingly sung that a single note cannot ruin the whole. Sincere classical singing does not lie in a single note. Even without the large voice these roles need, she handles the heavy Verdi parts impressively. "O patria mia" and especially Desdemona's scene are magnificient.

This collection has increased my admiration for this wonderful artist. If all the sopranos were flowers in a garden, Freni would be a lovely daisy.

5 out of 5 stars A great voice and a great lady!.......2004-02-07

Mirella Freni's singing even today when she's over sixty still teaches all the young sopranos a lesson how a voice can be preserved. Her singing is lovely, creamy and colourful. She's by far my favourite Liu and part of the Mimi-Triumvirate: Victoria de los Angeles, Maria Callas and Mirella Freni. Her first Mimi with Nicolai Gedda was a revelation, the complete set is a must for ever Puccini-Lover. And despite its not being idiomatic and her poor French her Juliette is riveting and lovely. But my favourite Freni-role will always be Elisabetta in Verdi's "Don Carlo" which she sang to perfection on a live-recording from La Scala (Abbado) featuring Carreras, Ghiaurov, Obraszowa etc. etc. An amazing set for those who want to know why Mirella is still adored today!

5 out of 5 stars A Bible of Soprano Singing.......2003-04-30

Many of these items were available on different cd, now out of print. That disc introduced me to the art of Mirella Freni, and one listening had me hooked. Mirella Freni is my favorite artist in any genre. She has taken such good care of her voice that she is still singing and getting fantastic reviews at the age of 68. She started off by singing lyric/coloratura roles such as Adina, Susanna, Zerlina, Micaela, the Puritani Elvira, then came Mimi, Juliette, Violetta, Marguerite, Manon, which which had heavier orchestrations. The seventies saw Freni's voice expanding and growing naturally very unlike Renata Scotto, who pushed her voice to sing roles too heavily orchestrated. Scotto is a great artist, but nobody can deny the fact that her voice turned terribly shrill. New roles for Freni were Desdemona, Elisabetta, Aida, Tosca and Butterfly (on record) and Boito's Marguerita. Never forcing or pushing, she sang these roles with great success and beautiful tone. She also was expanding emotionally and her characterizations grew deeper and more intense. In the 80's, she continued to expand her repertoire, though not giving up old roles, to include Manon Lescaut, Adriana Lecouvreur, Tschaikovsky's Tatyana and Liza with incredible results. She still added new roles in the 90's and into the 21st century, Fedora, Madame Sans Genes and Tschaikovsky's Maid of Orleans (a mezzo role). Unlike Tebaldi and other Italian sopranos, Freni often sang roles in their original language, French, Russain and songs in German. We only get to hear French and Italian here, and I strongly urge any opera lover to seek out her recordings on other labels than EMI. DG, for her wonderful Manon Lescaut, 2nd Butterfly, 2nd Tosca, Tatyana, Boccanegra's Amelia. On London/Decca, her Mimi (legendary), Butterfly, Nedda, Nannetta, Margharita, Mathilde, Tosca, the Trittico heroines (a Suor Angelica that is supreme).
Now, about the singing on this disc:
The Pasquale aria is nicely done (though I prefer Sill's rendition). The Boheme numbers are legendary, enough said. The Tosca aria is my favorite of all soprano's and ever Freni's (she recorded it at least twice more), beautiful and slow. Her Butterfly is regarded as "model" and her singing of both arias are intense and heart wrenching. Her Amico Fritz arias are perfectly judged and performed. The Adriana arias are fine, though they would grow in character when she took on the full role in the 80's and I prefer her later recording of them for Decca on her Verismo Arias disc. Her Micaela is also regarded as legendary and this recording shows why. The Pearl Fishers, Faust and Manon arias are gorgeously sung with golden tone and the Romeo arias show her technical skills in coloratura, well done. Her Mozart, too, is wonderful, receiving praise from, of all people, Renata Scotto in her autobiography. Her Violetta is secure and rich with brilliant coloratura in the Sempre Libera section. Her Doretta is ok, with some odd breath points that should have been eliminated. The other Puccini sections are very special, showing what a superb Puccinian she is. She is a commanding Verdian in the Forza arias, but the acoustic is horrible. Her singing is worth it, though. The Aida items are intense and with long breaths. I just love her as Aida but the engineers did not capture her voice as richly as it was at that time. Still this is masterful singing of difficult music. Willow Song and Ave Maria are, in my mind, the best ever committed to disc. If you are not under her spell in these tracks, then you must be stone-hearted. My only regret is that her gorgeous Tu che le vanita from Don Carlos is not included here......a serious omission!!!!!
This is a great showcase for a supreme artist. Buy it.....you won't regret it!
Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Average customer rating: 4.5 out of 5 stars
  • 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

All Works by OffenbachAll Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music
Alagna, RobertoAlagna, Roberto | ( A ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
RomancesRomances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
FrenchFrench | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
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ASIN: B000005E4D
Release Date: 1996-10-29

Tracks:

  1. Les Contes D' Hoffmann: Prelude - Kent Nagano
  2. Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
  3. Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
  4. Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
  5. Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
  6. Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
  7. Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
  8. Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
  9. Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
  10. Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
  11. Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
  12. Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
  13. Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
  14. Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
  15. Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
  16. Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
  17. Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
  18. Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
  19. Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
  20. Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
  21. 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
  22. Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
  23. Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
  24. Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
  25. Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
  26. Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
  27. Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
  28. Les Contes D' Hoffmann: Serviteur - Kent Nagano
  29. Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
  30. Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
  31. Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
  32. Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
  33. Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
  34. Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
  35. Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
  36. Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
  37. Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
  38. Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
  39. Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
  40. Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
  41. Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
  42. Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
  43. Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano

Tracks:

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

Tracks:

  1. Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
  2. Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
  3. Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
  4. Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
  5. 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
  6. Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
  7. Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
  8. Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
  9. Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
  10. Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
  11. Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
  12. Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
  13. Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
  14. Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
  15. Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
  16. Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
  17. Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
  18. Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
  19. Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
  20. Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
  21. Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
  22. Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
  23. Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
  24. Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
  25. Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
  26. Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
  27. Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
  28. Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
  29. Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
  30. Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
  31. Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
  32. Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
  33. Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
  34. 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:

5 out of 5 stars 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.

4 out of 5 stars 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.

4 out of 5 stars 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.

4 out of 5 stars 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.

5 out of 5 stars 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.
Joseph Canteloube: Songs Of the Auvergne
Average customer rating: 5 out of 5 stars
  • This is the real verison of the songs you should have
 Joseph Canteloube: Songs Of the Auvergne

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

Canteloube, JosephCanteloube, Joseph | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
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  1. Canteloube - Chants d'Auvergne / Victoria de los Angeles
  2. Joseph Canteloube: Chants d'Auvergne
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  4. Canteloube: Chants d'Auvergne
  5. Mozart: Concerto Nos. 21 & 24

ASIN: B0000ADXFP
Release Date: 2003-08-12

Tracks:

  1. La Pastoura Als Camps
  2. Bailero
  3. Trois Bourrees: A. L'aio De Rotso, B. Ound' Onoren Gorda?, C. Obal, Din Lou Limouzi
  4. Pastourello
  5. L'Antoueno
  6. La Pastrouletta E Lou Chibalie
  7. La Delaissado
  8. Deux Bourrees: A. N'aipas Jeu De Mio, B. Lo Cahle
  9. Lo Fiolaire
  10. Passo Pel Prat
  11. Lou Boussu
  12. Brezairola
  13. Malurpus Qu' O Uno Fennol
  14. Jou L'Pount D'o Mirabel
  15. Oi, Ayai
  16. Pour L'enfant
  17. Chut, Chut
  18. Pastorale
  19. Lou Coucut

Tracks:

  1. Obal, Din Lo Coumbelo
  2. Quand Z'Eyro Petitoune
  3. Le-haut, Sur Le Rocher
  4. He! Beyla-z-y D'au Fe!
  5. Postouro, Se Tu Me'aymo
  6. Te, L'co, Te!
  7. Uno, Jjonto Postour
  8. Lou Diziou Be'
  9. La Mere Antoine
  10. Oh! Madelon, Je Dois Partir
  11. Rossignolet Qui Chants
  12. La Fille D'un Paysan
  13. Comment Donc Savoir
  14. Mon Pere M'a Plasee
  15. Lorsque Le Meunier
  16. O Up!
  17. Le Premier De Tous Les Oiseux
  18. Mo J'ai Un Homme
  19. J'ai Un Douce Amie
  20. Dans Le Tombeau
  21. Allons, Beau Rossignol
  22. Quand Marion Va Au Moulin
  23. Reveillez-Vous, Belle Endormie

Customer Reviews:

5 out of 5 stars This is the real verison of the songs you should have.......2005-07-03

I had the opportunity to hear Miss Davrath sing a collection of these songs when I was young and that experience has stayed with me for 40 years. The late Miss Davrath pioneered these songs before anyone else discovered these delightful classics. She is the only singer that does them with the correct dialect so they just might sound a little different then the incomplete versions by superstar divas. Get these, you won't be sorry even if you have other versions.
Savoir Aimer
Average customer rating: 4 out of 5 stars
  • savoir chanter
  • Excellent
  • Not very pleased
  • I've Changed My Mind!
  • Overblown
 Savoir Aimer
Florent Pagny
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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  1. Châtelet Les Halles
  2. Master Serie
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  4. Samedi Soir Sur La Terre

ASIN: B000007SMG
Release Date: 1998-02-04

Tracks:

  1. Savoir Aimer
  2. Dors
  3. Sierra Cuadrada
  4. Mourir Les Yeux Ouverts
  5. Loin De Toi
  6. Une Place Pour Moi
  7. Protection
  8. Combien Ca Va
  9. Chanter
  10. Solo Le Pido A Dios
  11. D'un Amour, L'Autre

Customer Reviews:

4 out of 5 stars savoir chanter.......2006-12-27

I stumbled upon Florent Pagny's voice on a drive through France in 1997 and quickly picked up SAVOIR AIMER, produced in that same year. I still listen with appreciation.

Pagny is at his best when a certain darkness, a certain suffering interpenetrates his music. The title track does so with its juxtaposition of savoir aimer // savoir sufrir and the equally important shift from acoustical to full-blown (including orchestra) instrumentation from one beat to the next.

'Dors' and 'Loin de toi' are similar in this regard. Both carry real throw weight, emotionally and aesthetically. The Spanish female narrator's voice in 'Sierra Cuadrada' is enough to make a man question his life commitments.

The album uses electric guitar *and* strings persuasively throughout. After a basement flood, I can no longer pry open the cd insert to see who deserves the credit.

Pagny is much less convincing when he goes up-beat. I take him to be an accomplished love balladeer who would be well advised to stick with his strengths. Other albums might prove me wrong on this, however.

This is truly a fine cd. You don't have to speak French or Spanish to appreciate the music, though it certainly adds a level of texture if you're able to do so.

5 out of 5 stars Excellent.......2004-06-21

I love this album! Florent's voice is so passionate and strong that you really enjoy every song.

2 out of 5 stars Not very pleased.......2000-05-16

Recently bought the cd and was thoroughly disappointed. Same old 80's beats throughout most of the album. Only worthwhile song comes from the album's title, Savoir Aimer. Personally, I'm waiting for his "best of" cd if it hasn't come out already. I considered his live cd, but I prefer studio recordings anyday.

4 out of 5 stars I've Changed My Mind!.......2000-01-23

OK, I couldn't in any conscience not update my comments below. Because I'm determined to master the French language, I stayed with the album, and my opinion has changed. Although this isn't the kind of music I would listen to in English -- I normally wouldn't even give it a chance -- I have to admit it's a very good CD. "Mourir les yeux ouverts" and "Loin de toi" are probably my favorites (I can hear what everyone is talking about on "Loin": his voice is exceptional, although it's not immediatly obvious), followed by "D'un amour, l'autre." Although less blues-based, it compares favorably with Jean-Jacques Goldman's "En passant."

2 out of 5 stars Overblown.......2000-01-02

Over-produced middle-of-the-road Top 40-friendly pop. If big drums, drenching keyboards, epic vocals, and power chords bouncing off canyons is your thing, you shouldn't be disapointed. (I'm exaggerating slightly.) I find it ironic that the only song which I can listen to, the only one NOT overproduced, is the one sung in Spanish! OK, 'Dors' isn't too bad either.

Someone below compared Pagny to Francis Cabrel (SAMEDI SOIR SUR LA TERRE, HORS-SAISON); I'm afraid I just don't hear it, they are worlds apart. The comparison to Hallyday is more apt, especially JH's CE QUE JE SAIS, since Obispo wrote many of those songs as well. (Far superior to both Pagny's and Hallyday's CDs, in my opinion, is Jean-Jacques Goldman's EN PASSANT.)

I also don't hear the 'great voice' others are raving about. To me, a great voice is Baaba Maal, Salif Keita, Youssou N'Dour... I keep looking for something challenging, or non-mainstream, or alternative, coming from France. I know it's there, I just can't find it. (Cabrel is excellent, in a Clapton kind-of-way. For now, it'll have to do). If you can turn me on to something, please e-mail me, I'm getting desperate!: desoc001@hotmail.com
Savoir Faire
Average customer rating: Not rated
    		Savoir Faire
    Loredana Bertè
    Manufacturer: Sony Bmg
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | International | Styles | Music
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    ASIN: B00005S1DV
    Release Date: 1990-09-05

    Tracks:

    1. Ragazzo Mio
    2. Savoir Faire
    3. Curiosita
    4. Petala
    5. Una Sera Che Piove
    6. Was Ist Das?
    7. Full Circle
    8. Non Finira'
    9. Tv Color
    Savoir & Vivre Ensemble
    Average customer rating: 5 out of 5 stars
    • A classic!
    		 Savoir & Vivre Ensemble
    Kerry James
    Manufacturer: Naive
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | International | Styles | Music
    GeneralGeneral | Rap & Hip-Hop | Styles | Music
    World DanceWorld Dance | Dance & DJ | Styles | Music
    InternationalInternational | Imports | Stores | Music
    ASIN: B0001HZ6P6
    Release Date: 2004-04-12

    Tracks:

    1. Intro
    2. L'amour Veritable
    3. Ya Chadhli
    4. L'enfant
    5. Moins De 20 Ans
    6. Soultanou L-'Awliya'
    7. Ensemble
    8. Elle
    9. Ya Allah
    10. Toutes Les Meres
    11. Maryam
    12. Tala^A L-Badrou
    13. Force
    14. Chapitre
    15. Al -Bourdah
    16. Malgre Les Apreuves
    17. Nos Peres Et A Nos Meres
    18. Al- Jilani
    19. Science Une Lumiere
    20. Taha Ya Sakin Galbi
    21. Releve La Tete

    Album Description

    2004 two disc release from the French rap artist. Naive.

    Customer Reviews:

    5 out of 5 stars A classic!.......2004-06-05

    This is concious hip-hop ! Spreading truth about Islam! The music is well put together. This is an album you can play over and over again even if you don't understand french!
    Sextiny
    Average customer rating: Not rated
      		Sextiny
      Savoir Faire
      Manufacturer: Tantra Records
      ProductGroup: Music
      Binding: Audio CD

      GeneralGeneral | Soul | R&B | Styles | Music
      ASIN: B000CA8QPY
      Release Date: 2005-07-12

      Tracks:

      1. Intro
      2. Sextiny
      3. When the Pussy's Good
      4. You're So Money
      5. She's So Voluptuous
      6. Gotta Keep Movin' On
      7. Bounty on My Head
      8. Sensual Thang
      9. I.P.
      10. I Am the Night
      11. Savoir Faire Is Everywhere
      12. I.P. (Reprise)
      13. Scream for Me Freak
      14. Confusion in Your Eyes
      15. Finesse
      16. Guitar Totin' Pimp
      17. Baby You're a Freak
      18. Savoir Faire Loves You Baby
      19. She Chose Me
      20. Hey, Savoir Faire
      21. Outro
      Savoir Faire
      Average customer rating: Not rated
        		Savoir Faire

        Manufacturer: Capstone
        ProductGroup: Music
        Binding: Audio CD

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        ASIN: B000777IFQ
        Release Date: 2005-01-25
        Le Chant français, 1948-1965
        Average customer rating: Not rated
          		Le Chant français, 1948-1965

          Manufacturer: EMI
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          ASIN: B000093U3N
          Release Date: 2004-01-07
          The Most Beautiful Soprano Arias (Box Set)
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            		The Most Beautiful Soprano Arias (Box Set)

            Manufacturer: Capriccio
            ProductGroup: Music
            Binding: Audio CD

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            ASIN: B000028ED3
            Release Date: 1999-11-02

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