Customer Reviews

Natalie Dessay - Vocalise

5 star:		(14)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

This is a wonderful collection of coloratura pieces. Dessay is tremendous technically, and, though the voice can be a bit thin at times, she is absolutely stunning in this repertoire. As a coloratura-in-training, I am listen in awe as Dessay fools her audience into thinking this is simple stuff! While it may seem to be on the verge of heresey, I much prefer Dessay to Joan Sutherland (though she is indeed La Stupenda) and even enjoy listening to her over Sills. The reviews which comment on Dessay seeming to have a less-than solid sound and comparing her to Fleming may be forgetting that this type of literature cannot afford to sound weighty, nor can the voice perform optimally with a weight up in the rafters! Though I think Fleming is a fine singer, I personally prefer listening to Dessay, and I certainly learn more from the experience. This is an incredible album and a true accomplishment. Also, if Dessay is your cup of tea, check out the recording of Lakme with Dessay in the title role-wow!

As a student at the music school which Renée Fleming attended and is worshipped, one would think that I would agree with the reviewer who compared Natalie Dessay unfavorably to her. But I've never really liked Renée Fleming; she's very good, yes, but her voice isn't distinctive enough for me to call her a "great" soprano, lyric or otherwise. Dessay's performances of these relatively unknown selections are flawless, with the possible exception of Rachmaninov's Vocalise, which is more for a lyric soprano. True, Dessay's ultra-thin tone can be piercing, but it's worth it to hear intelligent interpretations of songs that I haven't heard eight million times before. And her coloratura technique has got to be among the best in the world today.

French soprano Natalie Dessay sings a beautiful program of coloratura gems. One critic has dubbed her the "thinking man's" coloratura soprano. The voice is pure and agile with a transluscent quality about it. Flirtatious and sensual in "Les filles de cadix" and dulcet in "J'ai vu passer l'hirondelle," Dessay is a fine interpreter. She uses her voice like an instrument in the actual vocalise selections, coloring her lines tastefully and elegantly.

One reviewer attested to the supremacy of Renee Fleming. They are both wonderful sopranos with very different voices. Fleming is a full lyric soprano and Dessay is a coloratura soprano. I wouldn't want to be without either of them.

I never thought that I would like vocalizations, but when I first heard this album on the radio, I pulled my car over to REALLY listen - just beautiful. Dessay is also a show-stealer at Chicago's opera production of "Alcina" which I saw last night.

I will start by saying that just from listening to the excerpts, Ms. Dessay has a wonderful tone quality and great control...she does make what is actually very difficult sound very easy! But basically this is a note to the reviewer who compared her to Rennee Fleming...Fleming is a Lyric Soprano, a type of soprano that has a warmer richer tone, while Dessay is a Colloratura Soprano, which is higher and clearer (and who tend to do the "vocal gymnastics")...so really its not very fair to compare two exceptional singers when they are in different vocal categories because they have completely different tone qualities...it just depends on your personal preference.

I have to admit I was skeptical when a friend of mine wanted me to hear this CD.

As a singer myself, and very picky about sopranos, I'd never heard of her.

After hearing the Rachmaninov Vocalise I was spellbound.

She's wonderful, and you'll be surprised at her range and clarity.

Get this CD!

As a relative newcomer to classical music, I was somewhat reluctant to buy this CD because of certain negative comments I read here. I am very glad that I did because I found them to be entirely unjustified, as far as I am concerned, which means that I do not have the vaguest idea what the reviewer(s) was(were) referring to that can actually be heard in Natalie Dessay's performance on this CD, or is lacking in it. As a matter of fact her voice is a marvel and her performances of these songs are exceptional. This is an absolutely lovely CD, to say the least, and I play it often. Initially I was most interested in hearing her sing Ravel's Vocalise en Forme de Habanera which she does well, but, what she does with all of the other songs on this CD, not the least of which are Rachmaninov's Vocalise and Sanit-Saêns' Le Rossignol et La Rose, is so impressive that the Ravel, beautiful as it is, lost its relative importance to me right after I played this the first time . There is something very pretty about Eva Dell' Acqua's Villanelle and her interpretation of it. However, she sings Alabiev's Salavéi, Delibes' Les Filles de Cadiz and Johann Strauss II's well-known Frûhlingstimmer-Walzer with such an infectious spirit and with such energy that they are the most not to be missed on this CD (although, actully, none of them are). I highly recommend this disc, therefore.

This is an intriguing CD, featuring Natalie Dessay at her best. One plus: the booklet coming with the CD includes the words of the different works (at least those that have words to them). It's a somewhat different set of works than her other CDs featuring standard selections of arias.

The very first cut sets the tone for the whole CD: Rachmaninov's "Vocalise." No words--the soprano's voice is itself another orchestral instrument in effect. Dessay displays an absolutely ravishing vocal line, to my ears. Very nice high notes at the end, cleanly sung.

Delibes' "Les filles de Cadix." The words of the song feature much flirtation. Dessay's voice shows great agility in this piece. The work features a wide range of notes, from lower to highest; Dessay essays the range well. There is a decent (but not great) trill midway through. There is a very high note at the end (a bit harsh maybe, but well done nonetheless) that kind of gets one's heart pumping.

Gliere's "Concerto for Coloratura Soprano and Orchestra" (the allegro) is another work where the voice is used as just another instrument. But what a nice instrument is Dessay's voice! She demonstrates nice staccato notes--and there are lots of these in this work! She displays excellent coloratura technique, and hits a series of staccato high notes at the end with a very well done final high note.

Finally, Johann Strauss, Jr.'s "Voices of Spring" ("Fruhlingsstimmen-Walzer" in German). This is a stirring version with a close that leaves the listener gasping for breath (a bit of hyperbole, maybe, but my spine was tingling at the close--and that's not hyperbole). This work is replete with ornamentation--staccato notes, trills, other vocal effects, and high notes. There is an absolutely stunning high note--way above high C to close this cut out.

This is Dessay near the top of her game. It is an interesting departure from the standard repertoire, and the listener will be richly rewarded for purchasing and listening to this CD.

The first time I heard Dessay was on my car radio, vocalizing "The Nightingale & the Rose" by Saint Saens. I was mesmerized. Unfortunately, when I listened for her name, someone honked & I missed it but by calling the radio station, I am now in possession of this fabulous CD.

This is great classical female opera...for anyone who thought they would not like high scale singing with most done without orchestral backup...you have found the album to buy. Natalie easily navagates all vocals in the various songs offered. You will love how gracefully she hits high notes. This is classical music on a different level, again I stress the high notes are not strained(ala Maria Callas) it is a total pleasure to listen to. The recording is also top-notch..if you like Flemming and Kozenka You will LOVE this great recording.