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  • Beverly Sills: Plaisir D'Amour
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Beverly Sills: Plaisir D'Amour


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Audio CD, November 24, 1998
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Product Details

  • Audio CD (November 24, 1998)
  • Number of Discs: 1
  • Label: Sony
  • ASIN: B00000FCKP
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (43 customer reviews)
  • Amazon Best Sellers Rank: #273,021 in Music (See Top 100 in Music)

1. Parlez-moi d'amour, song
2. Ivan IV (Ivan the Terrible), opera in 5 acts (unfinished): Ouvre to coeur (Spanish serenade)
3. Oh! quand je dors (I), song for voice & piano, S. 282i (LW N11/1)
4. Mireille, opera: Waltz
5. Si tu le voulasi for voice & piano (or orchestra)
6. Les Filles de Cadix, bolero for voice & piano (or orchestra)
7. Les chemins de l'amour ('Les chemins qui vont'), for voice & piano (or orchestra), FP 106
8. Plaisir d'amour, for voice & piano (or orchestra)
9. La Villanelle for voice & piano (or orchestra)
10. Intermezzo, instrumental arrangement (from Goyescas)
11. Goyescas, opera, H. 65: La maja y el ruiseñor
12. Estrellita for voice & piano (or orchestra)
13. La morena de mi copla

Editorial Reviews

1998,13 songs

Customer Reviews

The French style makes use of head voice, coloratura technique, legato and pianissimo.
Rudy Avila
The "Le Toredador" aria is one of the most amazing examples of coloratura singing I've ever heard.
D. Fair
The incomparable Beverly Sills beautifuly sings here a true bouquet of songs in French and Spanish.
Y. Romero

Most Helpful Customer Reviews

14 of 14 people found the following review helpful By Rudy Avila on January 25, 2004
Format: Audio CD
This compilation album showcases the legendary soprano Beverly Sills singing French and Spanish arias. The album's title is from the French Baroque song in track 8 by Giovanni Battista Martini and it means "Joy of Love". Beverly Sills was born in Brooklyn, New York City, and trained in the French/Marchesi style by her vocal coach Estelle Liebling. The French style makes use of head voice, coloratura technique, legato and pianissimo. The fact that Beverly was fluent in French made it a bonus for her to sing in French fluently as well. Her French diction is perfect. Other than Beverly Sills, only Madie Mesple has performed in French opera repertoire most dynamically. It is no wonder then, that Beverly Sills enjoyed great success in the French operas of Massenet- Manon and Thais as well as Delibes' Lakme. This album was recorded in different time periods. Tracks 1-9 were recorded in 1975 and tracks 10-13 earlier in 1961. Thanks to the miracle of modern editing, you can hardly notice this shift in time. The French arias (tracks 1-9) find Beverly in 1975 voice. By that time, Beverly Sills was approaching the last phase of her career. She would retire from the opera stage in 1979-82, but not before performing farewell concerts and operas in the U.S. Despite what some people want to say, Beverly Sills is still singing beautifully even at this time, especially because the French repertoire was her strongest and easiest department vocally speaking. The real treat to this album would be the last four tracks, the Spanish songs.Read more ›
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7 of 7 people found the following review helpful By D. R. Schryer on April 27, 2002
Format: Audio CD
I'll admit up front that, in my opinion, Beverly Sills was the greatest all-around soprano of the recorded era. Yes, she had a pronounced vibrato; and, yes she was inclined to add vocal pyrotechnics that were not in score when she sang coloratura arias. But somehow all of this seemed irrelevant whenever one heard her sing. Her voice quite simply was uniquely beautiful and she could sing everything from dramatic to coloratura roles equally well. For a while Sills was THE American soprano, hailed as equal or superior to the other great sopranos of her time. Then, after her retirement, for some inexplicable reason many of her recordings became unavailable. Recordings that had sold well as LPs were not made available on CDs until recently. Now, at last, there seems to a resurgence of interest in this great singer. Several of her opera recordings haved been reissued on CDs and this fine collection has been assembled. If you love this great soprano's singing as much as I do please get her CDs -- including this one -- while they are still available. If you are not yet familiar with this great soprano -- or only know her by reputation -- please listen to her with unbiased ears. You will be richly rewarded.
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6 of 6 people found the following review helpful By "browcliffe" on March 31, 2002
Format: Audio CD
It was with great anticipation that I purchased this retrospective of Sills' extraordinary art. Compiled by the late John Ardoin, it's a generous helping of music from three separate recordings: Sills' Mozart/Strauss album, her French Opera album, and two numbers from a recital in New York. The sheer logistics of distilling three albums onto one CD necessitated the selection of items from each set. While Ardoin has done a good job of selection, the omission of two pieces in particular somewhat undermined my enjoyment of this CD.
We begin with two Mozart arias from an album Sills counted as among her best studio work. It's easy to understand why because both performances demonstrate her ability to combine technical virtuosity with musical artistry. She attacks each aria with assurance, floating the elegant line one minute, dazzling with vocal pyrotechnics the next. But these arias also require a broad range and here is the only flaw in Sills' performance. Despite show-stopping high notes, Sills' lower range was not strong, especially when she was required to jump between registers. Both these selections display moments when Sills' lower voice is dry and thin. It's a serious drawback, especially in a Mozart aria where the voice is so exposed. In comparison, listen to soprano Margaret Price's rendition of "Vorrei spiegarvi" to hear a voice capable of encompassing the full breadth of the aria. Still, Sills' performance remains a remarkable achievement in repertoire with which she was not immediately associated. I must express some misgiving regarding Ardoin's decision to exclude Sills' rendition of the aria, "Ruhe sanft" from this set. While not as showy, this aria requires greater artistry because of its long vocal lines and sustained pianissimos.
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5 of 5 people found the following review helpful By Amazon Customer on December 15, 2001
Format: Audio CD
If you are wondering whether to buy this CD, do yourself a favor and buy it right now. Just to listen to her rendition of the aria from Les Huguenots is worth the price and then some. The heights she reaches in this aria alone are not to be believed, both technically and artistically. It's something only a virtuoso like Sills could triumph in with flying colors. The more I listen to this, the more in awe I am of her virtuosity. Each note is a jewel. Besides her bright timbre and rapid vibrato, you get incredibly fast runs, elaborate roulades, superbly done trills, it will simply leave you speechless. This is the same aria that she sang in a concert version in Carnegie Hall in May of 1969 and stopped the show for over five minutes with wild applause.
Many of the arias on this CD are from French opera and it is common knowledge she had few, if any, rivals in this repertoire. Her Titania is an old coloratura warhorse and she more than rises to the challenge. Her Mozart arias were part of her Mozart/Strauss album that she herself considered her best work in the recording studio, and we can see, or rather hear, why. The aria from Robert Le Diable is so moving it will give you goosebumps. The mad scene from Hamlet is, like her mad scene from Lucia -not on this CD unfortunately- one of her specialties where in addition to her peerless technique, she demonstrates what a superb actress she was. For those unfortunate enough to never have seen Sills live on stage in the sixties, when she was at the height of her vocal powers, this is as close as you'll get to experience Sills at her best. Don't waste any more time, get yourself this CD and start enjoying the art of one of the best coloraturas this country has ever produced, period.
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