Most Helpful Customer Reviews
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122 of 125 people found the following review helpful:
5.0 out of 5 stars
The Sound of the Soul of France, July 8, 2004
Edith Piaf (1915-1963) was an unexpected artist, the child of a part-time prostitute and a circus acrobat, raised in a brothel, singing on street corners for pennies in Paris--until 1935, when her success at the famous Paris nightspot Gernys launched her to what would become international stardom. Notorious for her many ill-starred love affairs, attacked as a Nazi sympathizer during the French occupation, belatedly defended as a member of the French Resistance, self-destructing through alcohol and drugs, she proved as unexpected in her personal life as in her talents--but whatever the lady's personal failings, no one can fault her talents. She is, quite simply, the sound of the soul of France.Unless you speak French you may find the idea of purchasing songs sung in French a little off-putting. I myself speak what you might call "hotel French"--which is to say handful of standard phrases that would get me through in a pinch. When I listen to Piaf I occasionally understand a term here and there, but the specific meaning of the words escape me. But this no hindrance at all. Piaf has a passion that truly transcends the limits of language. No one need tell you that her tone is ironic; no one need tell you that the song is about poverty, lost love, a plea to God; it is there, it is inescapable. Her voice has the delicacy and strength of a steel wire, alternating sharp and flat tones in a uniquely French style, setting forth a meticulously rolled "r" in such a way as to give you chills and flying into a series of electrifying vibratos that are unique in all of music. Although it would take a box set to do this artist justice, THE VOICE OF THE SPARROW is a very nice introduction to eighteen of Piaf's most famous songs. In a general sense, Piaf typically sang love songs--and had an uncanny ability to shift from bright to dark tones, allowing the listener to feel a dozen different shades of each emotion that colors any single selection. Be it the internationally celebrated "La Vie en Rose," the intense "Mon Dieu," the defiant "Non, Je Ne Regrette Rein" or the super-sophisticated "T'es Beau, Tu Sais," once Piaf adopted a song it became hers alone; every other rendition seems pale in comparison. Sadly, the recordings on this CD have not been remastered--but it doesn't really matter. For one who could escape the limitations of language it is hardly difficult to leap the boundaries of recording technology with the sound of the heart. GFT, Amazon Reviewer
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94 of 96 people found the following review helpful:
5.0 out of 5 stars
The Voice of the Sparrow, December 27, 2000
"The Voice of the Sparrow" is an excellent compilation of Edith Piaf songs. This French torch singer from the 1940's who sang of prostitutes, love and the Paris slums has a strong, powerful voice as is evident in such songs as "Milord", "Comme Moi", "Hymne ŕ L'Amour" and "Non, Je Ne Regrette Rien." Each song is clear as a bell and makes one appreciate the richness of the French language. Though many may not understand the lyrics, the emotion Piaf projects more than makes up for it. It may even prompt you to learn this romantic language. Every Edith Piaf fan has their favorite song. My favorite is "L'Accordeoniste", a song about a prostitute who loses her lover, an accordionist, in the Second World War. However, each song on this CD is unique and wonderful in its own way. Perhaps the most famous song in this compilation is "Milord", which is about a prostitute who comforts a brokenhearted rich Englishman. I highly recommended this collection.
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52 of 52 people found the following review helpful:
5.0 out of 5 stars
So good it is sometimes hard to play., September 29, 2006
I have had this as a CD about 10 years, and had tapes previously, and lps previous. This and most other Piaf recordings I have owned is so good that it is sometimes hard to play. You are afraid you will never get it out of the CD player or hear anything else because it is so wonderful. This is a good introduction to Piaf's large body of work and to French songs of the middle of the 20th Century.
Piaf nowadays tends to suffer from what became of Billy Holiday in her last ten years. Many people view her as a personal tragedy,, while discounting her artistry. More people make the error of saying Piaf is important because she epitomizes French culture or song to them. Such persons have never heard even of Mistinguet, let alone the other great caberet singers preceding her and following her.
Piaf who began singing in the streets was one of the last great examples of singers whose technique and development came before the era of the microphone and whose strength was their ability to project their voice with power without the microphone, but later were able to manage the microphone. She needs to be listened to as art or as drama not as nostalgia or atmosphere. Similarly, there is an overexaggeration of Piaf's connection with prostitution, even assumptions that she practiced this professions which are simply untrue. Moreover, while uneducated formally, once she had the means, she became interested in the most advanced poetry and fiction being written in France. Indeed, when she discovered Yves Montand during WWII, Piaf thought he was too vulgar and got him to read literature and to follow high culture!
Piaf sings strong, but sings with discipline and touch. Her voice cuts into you in ways that stay with you if you are listening to them personally. "Non, Je Ne Regrette Rien," will always ring in my mind,always give me the idea of the strength and stubborness of character and how she led her life. People who knew Piaf, particularly after the war, admit that she was not necessarily a nice person, and sometimes was not a good person to her friends and colleagues, but no one who has heard any version of this song can doubt that Piaf was a strong person who was not afraid to throw every inch of her interior life into her music.
My only regret about this particular collection is that it includes too many songs that were French pop hits that crossed over into the US market in the 1950s that are neither identified with Piaf in France or the US when they crossed over, and not her strength. I am not saying they are bad music because I imagine there would be enough music in hearing Piaf belch or hiccup to satisfy a listener! I am just saying replacing them with songs less famous in the English-speaking world, but more of the strong "torch songs" that are Piaf's forte. Think of this album having one more song like "L'Accordeoniste" or "Hymne A L'Amour."
Finally, I hope that this "Best of" CD does not become your token Piaf CD or your token CD for French music of these times, but an entry port to discover the large body of recorded work available for both.
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