Customer Reviews

Natalie Dessay - French Opera Arias

5 star:		(6)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

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

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

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

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

So 5 stars for Natalie Dessay and the selections, and a slap on the wrist for the record label and its quality control.

There's much to recommend in Dessay's second French aria recital. The rare selections from Boieldieu and Offenbach are nice to hear, as is the gem of an aria from Cherubin that is getting a little more play on aria recitals. I'm also glad the postlude after Ophelia's mad scene is included - beautiful and haunting music with some wonderful pianissimos. It's unlikely Natalie will get to do a complete Hamlet audio recording, so it's welcome. All of the selections are performed in musical context with chorus, a nice plus. Other reviewers have noted the technical glitches - it's my summation they are the fault of conductor Plasson getting a little too "vocal" on the podium (shades of Bernstein or Toscanini?). In the past we had vinyl noise, tape hiss and analog distortions to hide such distractions - but no more. Videos of Dessay's recording sessions show that she likes to move and gesticulate a lot while recording (soprano Pettibon does this also). All that swishing around gets on the audio as well.

I'm a little surprised to hear the Juliette waltz sung in the conventional key rather than the high coloratura key. The conclusion of Manon's gavotte sounds clumsily coordinated between soloist and conductor. The lesser-known fablieau is good, but here, and in the Mignon Polonaise, lies one of Dessay's technical flaws, namely "lifting" into the stratospheric notes. Too many times the upper highs sound pushed, and this could spell problems for the future. My undertstanding she has taken on the lower-pitched Melisande on stage so perhaps her days as a leggiero are winding down and more lyrical roles are in the future. At any rate, a most enjoyable album and recommended.

Ah, Natalie Dessay. One of the great and most popular opera singers on stage today and in demand all over the world. This CD focuses on arias by French composers, most of which I had never heard before. Don't worry, for you fans of Offenbach, Olympia's aria is heard here. I don't remember the exact track names, unfortunately but I remember the highlights. Listen carefully for her sharp attacks in "The Bell Song" from Lakme and the vocal fireworks many of the other arias require. Most impressive is the final minute (especially the last three notes - I believe one is high "M" above "L-sharp") of Meyerbeer's "Air". This is an impressive CD. Her voice is easy on the ears and never shrill. The balance between orchestra and soloist is perfect and the conducting is never a distraction (weird tempos, dynamics, etc.) A great introduction for you to this singer.

I recently was introduced to the pure beauty of Natalie Dessay's voice when I saw her star as Lucia live at the Chicago Lyric Opera. Her preformance was absolutely stunning. She had every eye in the audience tearing up with the ease with which she sings. I rushed out to buy any CD of hers, and I made an eccelent choice. The selections on this album show the versitility and beauty of her voice. I highly recomend it. She sounds even better live!

A voice rarely heard. Incredible agility, amazing coloratura work with cadenzas rarely performed today; a pure, scintillating sound with dramatic impact. A joy to listen to again and again.

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

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

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

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

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

If you're not bothered by recording problems and love Dessay, buy this CD. But the recording, by Musica Numeris in France, is sloppy at best. Perhaps the French engineer had a bit too much wine over lunch? Virgin should be ashamed and let's hope Sir Richard Branson takes more care with his airplanes than his Virgin group does with their CDs. The mostly clear recording is flawed by numerous "glitches" like the one mentioned by another reviewer at 2:21 on track 2. Some of it sounds like clipping distortion while others might be extraneous noises. Some of Dessay's crescendos are sadly distorted right at their climax. Quality problems like these are inexcusable on a full price classical CD. And it's a shame because it's a great collection of arias and Dessay has an amazing voice.

La soprano francesa Natalie Dessay vuelve al mercado en solitario, presentando un disco donde revisa un amplio abanico de arias de operas francesas. El resultado no puede ser mejor, consiguiendo la soprano su mejor trabajo en solitario, tanto por gusto, como por brillantez de esos agudos inmaculados, belleza de la voz, diccíon... Todo esta ahi, al servicio de una musica bellisima. La orquesta y el coro rinden tambien a gran nivel a las ordenes de otro experto en este repertorio como es Michael Plasson. En resumen, un disco indispensable, para descubrir unas paginas preciosas magnificamente interpretadas por Natalie Dessay, que rinde con este disco un gran homenaje a sus compatriotas franceses.

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