Customer Reviews

Dawn Upshaw: The Girl with Orange Lips

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The two elements that uphold Dawn Upshaw's art are her riveting musicianship and her effortless and unerring artistic taste. Listening to her sing, one tends always to think of an instrumentalist applying her art, rather than a singer parading herself, so free of artifice and self-congratulation is her work. It seems that on no other recording of hers is this assessment more true than on this marvelous disc. The de Falla is wonderfully chosen as the opener, biting, with an almost corrosive undertone, and yet a lesson in perfectly balanced legato singing art. Ravel's setting of Mallarme's poems has never been treated more wisely than Upshaw's version here, in an ample expression of all the vision and complexity that characterises this difficult cycle. Only Jessye Norman's ravishing Ravel comes close to the beauty found in this disc's transcendent reading. If Stravinsky's beautiful `Japanese Lyrics' are hung like the moon at night, Dawn Upshaw is the night adorer. These three miniature masterpieces weigh out among the supreme offerings on this disc, Upshaw's clean, modern sensibilities perfectly matched to Stravinsky's tiny, divine `antidote' to his epic `Sacre', coming as it did directly on the heels of the completion of that epoch defining work. Though some have hinted that the Earl Kim cycle `Where Grief Slumbers', originally written in 1982, and here in the 1990 version recast for double string quartet, suffers from a musical language too intimate, too impenetrable to succeed, Upshaw makes a radiant case for this unusual song cycle. The oblique caress of `Listen to it rain', and the devastating romance of `Ophelia' would seem capable of convincing the most intransigent opponent of this kind of confessional art. Delage's mesmerizing `Hindu poems' finishes off a perfect recording effort with effortless perfection. The musicians on this disc are first-rate, and their contribution is clearly devoted to Upshaw's consummate, self-effacing art. This is ravishing musical art of the highest achievment. Don't wait to purchase this disc!

Thank God for musicians who are dedicated to expanding the repertoire which we are able to hear in performance and on recordings. So many artists are afraid to venture into 20th century art song/chamber repertoire and we have in turn been left wanting.
This is simply one of the most amazing recordings I've ever heard. Dawn Upshaw's voice is clear as a bell and deep with emotion--and her technique does not waver here, it is entirely classical and fabulous. I cannot praise her choice of repertoire more--every cycle, every song is entirely unique and remarkable. Earl Kim's cycle is breathtaking.
Don't walk, run. You need this.

I have all of Dawn Upshaw's discs but this is still my favorite (maybe White Moon is a close second). Upshaw brings together masterpieces of the early and late 20th century in various chamber ensembles, linked together thematically/stylistically by an international flavor. The two Stravinsky pieces (Poems of Balmont & 3 Japanese Lyrics) albeit sound like Stravinsky, retain an eastern-sounding aura to them. The same can be said of the Delage 4 poems. The true find on the disc are the Earl Kim "Where Grief Slumbers" songs. Taking his text from the symbolist poets, Rimbaud and Apollinaire, Kim fashions a suite of some of the most contrasting and emotionally powerful songs. Earl Kim's setting of 'Ophelia' is perhaps the most moving. Upshaw performs the entire 5 minute song a capella until nearly the end when the strings enter; one can almost hear her drowning.

Upshaw is a true pioneer of the operatic/vocal world. Some of her predecessors like Jan DeGaetani helped pave the way, but Upshaw has picked up the mantle, trying to fuse the repertory in such a successful way that listeners can ultimately and only benefit. Vocally it doesn't matter if she's singing Mozart, Ravel, Stravinsky or Kim, she meets the challenges head on and is able to communicate through her heart and mind. She can soar between octaves and registers with the greatest of ease connecting phrases as if anyone could! Everyone should take notice and give it a spin.

This might be my favorite recording by Dawn Upshaw, and she's done some wonderful work. The slightly startling title is taken from Earl Kim's song cycle Where Grief Slumbers, one of the highlights of a very well-conceived program. Of Kim's gorgeous set of seven songs, the real stunner is "Ophelia," with a dramatic a capella opening that Upshaw handles immaculately, before the harp and strings enter with their mellow accompaniment.

The Ravel Mallarme songs show Upshaw in sparkling, sensuous form, and I also loved the four Delage works, perhaps because of their relative rarity. But the entire program is quite interesting, and further, most of these works have not been recorded to death -- a great compliment to Upshaw's programming instincts.

In every track, Upshaw radiates confidence and produces a beautiful range of tonal colors matching the vivid writing, and offers exceptionally clear diction (although I can't vouch for the accuracy of her French). Nonesuch provides excellent sound quality, capturing the clarity of her voice as well as the gentle, outstanding accompaniments by the well-chosen cast of instrumentalists. For those inclined toward unusual repertoire, this can't be recommended too highly.

Dawn Upshaw has from the beginning of her career been recognized as a musician's musician. This extraordinarily intelligent, sensuously beautiful and rare collection of songs she offers in this, one of her finest albums among the many premieres and commissioned works she has recorded, could well be an 'artist's statement' for Upshaw. Recorded in 1990 her voice is fresh and crystalline and yet suggests the depths of emotion she has subsequently developed in such powerful performances as Saariaho's 'La Passion de Simone.

The works on this 'evergreen CD' include intimate erotic song settings by Manuel De Falla, Ravel, Earl Kim, Stravinsky, and Martin Delage using poems by Rimbaud, Mallarmé, Konstantin Bal'mont, and Hindu and Japanese lyrics. Upshaw finds the center of each of these disparate composers and poets and is gracefully enhanced by her collaboration with a small chamber ensemble consisting of violins, violas, cellos, flutes, oboe, clarinet, bass clarinet, harp, and piano. These songs are quiet, elegant, erotic, and perfectly performed. This is an album that all lovers of fine music should include in their libraries. It is a gift from a magical artist. Highly Recommended. Grady Harp, March 09

It was brave of Dawn Upshaw, who could have made her career in charming soubrtte roles and crossover pop, to lend her public fame to a really tough colleciton of modern songs. None of this music is immediately tuneful, and some (the wroks by Kim and Delage) is tough listening by any standards. The colleciton is held together by its exotic atmosphere and the delicacy of the poetry.

I must confess that I rarely pull this CD out, but Upshaw's voice is so lovely and her singing so committed and intelligent that I have no excuses. She has made a challenging, serious, and veyr worthwhile recital.

This CD was my first exposure to Dawn Upshaw some years ago. I bought it on a lark and have been a devotee ever since.

Her voice, clear as a bell, enhances the simplicity of the music, and this CD is wonderfully meditative. Turn off the lights. Lie down on your couch. And listen. It's wondrous.

'The Girl with Orange Lips' sung by Dawn Upshaw, backed with a rather eclectic colleciton of musicians, is the kind of album Ms. Upshaw should really be doing. Like 'White Moon', it is a collection of unusual songs from far corners of 20th century repitoire, rather than an essay on the more familiar material which is done so well by the heavyweights such as Renee Fleming, Anne Sophie von Otter, and Cecilia Bartolli, not to mention songs of the modern European and American stage owned, in my mind, by Ute Lemper.

Unlike another reviewer, I really prefer 'White Moon' to this album on a visceral level, although I listen to both at least once a year.

My only criticism is that as original DVD releases go, it seems a bit short, but this only reinforces the fact that I would like to hear more of Ms. Upshaw do this material in a single shot.

This CD is the first music I'd ever heard from Dawn Upshaw. I am now officially a fan.

This music is simple and meditative and is enhanced by the clear bell that is her voice. Turn off your lights. Lie down on your sofa. And listen.

It's wondrous.