Muzyka Klasyczna

Véronique Gens - Tragediennes 1 (2006)

2016-07-19T12:21:48Z

Véronique Gens - Tragediennes 1 (2006)

		Armide
1 	–Lully 	Enfin Il En Est Ma Puissance 	4:17
2 	–Lully 	Ouverture 	2:13
3 	–Lully 	Venez, Venez, Haine Implacable 	1:10
4 	–Lully 	Passacaille 	3:56
		Le Carnaval De Venise
5 	–Campra 	Mes Yeux, Fermez-vous A Jamais 	4:00
		Hippolyte Et Aricie
6 	–Rameau 	Prélude De L'Acte III 	1:40
7 	–Rameau 	Cruelle Mère Des Amours 	5:11
8 	–Rameau 	Chaconne 	3:09
		Castor Et Pollux
9 	–Rameau 	Tristes Apprêta 	4:11
10 	–Rameau 	Chaconne 	4:57
		Les Fêtes De Polymnie
11 	–Rameau 	Que Ses Regrets M'Ont Attendrie 	2:58
		Ishé
12 	–Mondonville 	Désirs Toujours Détruits 	3:57
		Seylla Et Glaucus
13 	–Leclair 	Ouverture 	5:45
14 	–Leclair 	Et Toi, Dont Les Embrasements... Noires Divinités 	3:45
15 	–Leclair 	Premier Air Des Démons 	1:50
16 	–Leclair 	Brillante Fille De Latone 	0:42
17 	–Leclair 	Deuxième Air Des Démons 	1:16
		Le Pouvoir De L'Amour
18 	–Royer 	 L'Objet Qui Règne Dans Mon Âme 	2:51
		Zaïde
19 	–Royer  	Dieu Des Amants Fidèles 	2:06
		Iphigénie En Aulide
20 	–Gluck 	Dieux Puissants Que J'Atteste... 	3:32
		Armide
21 	–Gluck 	Enfin Il Est En Ma Puissance 	6:28

Véronique Gens – soprano
Les Talens Lyriques (Ensemble)
Christophe Rousset - conductor

This fascinating recital, filled with rarities from the French Baroque/Classical period, is a series of monologues by tragic heroines: they're enraged, submissive, and everything in between. Gens is an amazingly classy singer, incapable of vulgar exclamation, but she still manages to express the full range of emotions required here. Her chest register has gained in volume and thrust and the top of her voice remains free and clear; her classical line, enunciation, and legato are flawless; her mastery of ornamentation is exquisite. Composed about 100 years apart, Lully's and Gluck's Armide bookend the program and use the same text; the latter's version is far more manic, but the character's torment is equally clear. Gens makes the stylistic distinctions. A great find is from Leclair's Scylla et Glaucus, in which Circe sings in front of Mount Etna, demanding assistance for her horrors. Each selection is riveting. This is a veritable primer in the emotions of early French opera. ---Robert Levine, amazon.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Veronique Gens - Tragediennes 3 (2011)

2016-08-03T15:46:59Z

Veronique Gens - Tragediennes 3 (2011)


  1. Ariodant (1799) - Acte II, Scène 6. Mélodrame, Récit et Air d'Ina. Quelle fureur barbare !...Mais, que dis-je?...Ô des amants le plus fidèle
  2. Astyanax (1801) - Récit et Air d'Andromaque. Ah, ces perfides grecs...Dieux, à qui recourir
  3. Les Danaïdes (1784). Ouverture
  4. Iphigénie en Tauride - Acte IV, Scène 1. Récit & Air d'Iphigénie. Non, cet affreux devoir...Je t'implore et je tremble
  5. Thésée - Acte IV, Scène 1. Récit et Air de Médée. Ah! faut-il me venger...Ma rivale triomphe
  6. Le Prophète (1849) - Acte II, Scène 6. Air de Fidès . Ah, mon fils
  7. Roland à Roncevaux. Acte I - Récit et Air d'Alde. Prête à te fuir...Le soir pensive
  8. Les Troyens - Acte III. Entrée des constructeurs - Entrée des matelots - Entrée des laboureurs
  9. Les Troyens. Acte V, 2e tableau - Monologue et Air de Didon. Ah! Ah ! Je vais mourir...Adieu, fière cité
  10. Henry VIII. Acte IV, 2e tableau, scènes 1-2. Air de Catherine d'Aragon. Ô cruel souvenir!
  11. Hérodiade. Acte I, scène 3 - Récit et Air d'Hérodiade. C'est Jean!...Ne me refuse pas
  12. Don Carlos. Acte V, scène 1 - Air d'Élisabeth. Toi qui sus le néant des grandeurs de ce monde

Véronique Gens (Soprano)
Les Talens Lyriques
Christophe Rousset (Conductor)

In her third `Tragédiennes' album for Virgin Classics, French soprano Véronique Gens continues her exploration of French operatic repertoire. Tragédiennes Vol. 3 covers the late 18th and 19th centuries and with a prime focus on roles for the deeper, darker-toned female voice. Christophe Rousset and Les Talens Lyriques join Gens once again in this release. The main emphasis in this recital is on arias written for mezzo soprano. Gens pays tribute to a series of Parisian divas would today probably be classified as mezzo sopranos: Marie-Thérèse Maillard, Cornélie Falcon, Rosina Stoltz and Pauline Viardot. It is evident that Gens can hold her own in such exalted historic company becomes clear from the BBC Music Magazine`s assessment of her last `Tragédiennes' album: "Passion, ardor, rage, tenderness - the full gamut of human expression emerges in this selection of works created for French operatic femmes fatales ... Music director Christophe Rousset and soprano Véronique Gens' second disc of musical `Tragediénnes' is a thrilling mix of the familiar ... and the little known ... The whole makes a wonderful odyssey ... Gens's agile voice is the perfect vehicle to cope with these emotional extremes, from the enchanting to the chilling. She is never afraid to sacrifice pure beauty of sound in favor of rhetorical and dramatic effect, giving due weight to the plights, laments and plangent outpourings of these timeless, tragic heroines. Rousset coaxes some crack playing from Les Talens Lyriques, combining the immediacy and intimacy of chamber music with all the colors and intensity of a largescale symphony orchestra." ---Editorial Reviews, amazon.com

In a word, the talent of Véronique Gens is stellar. The French soprano (who arguably sounds like a mezzo-soprano on this album) belongs in the category of the great singers from the golden age of opera in the 1960s. The repertoire on this album might be new to some listeners, as it features some works that are seldom heard: this is another strength of Gens, to introduce opera lovers to a greater body of work. She has rock-solid technique, repertoire that is well suited to her voice, clear diction, and excellent emotional depth that she engagingly conveys. Whether it is "Quelle fureur barbare" with its singspiel and three different moods; the subdued, brief, and reverential "Ah, mon fils"; or the magnificence and power-singing of "Prête à te fuir… Le soir pensive," it seems there is nothing the soprano cannot do. Her "Ah, ces perfidies grecs … Dieux, à qui recourir" shows a clean, cool voice with the sound of a mezzo-soprano as she delivers excellent recitative and puts a dynamic swell in the phrase where necessary. The listener really empathizes with her sense of urgency; it recalls Cherubino in "Non so più." Certainly, it does not hurt that she has an equally gifted orchestra accompanying her, conducted by Christophe Rousset. Les Talens Lyriques is a wonderfully dramatic orchestra that masters every dynamic contrast, feeling, and, presumably, every score marking with ease and non-stop energy. Apparently Gens respects her orchestra so much that it is given its own work on the album, a long yet fabulous overture by Salieri (which, admittedly, does have echoes of Mozart). One can hear Gens' low, chesty voice, where she still maintains her excellent technique in "Non, cet affreux devoir... Je t'implore," though it reveals a weakness of the artist: the occasional thinning of high notes. Gens creates her passion through her emphasis of the right words (such as in "Ah, faut-il me venger… Ma rivale triomphe") and through her connecting with the text as in "Prête à te fuir," where she is clearly telling a story. This piece in particular is exciting, for it is not like lighter Baroque opera, but rather a full orchestra that requires a full voice. There are moments of pure, throbbing feeling, for when she sings Berlioz's "Ah, je vais mourir," one truly feels her anguish, and that she will die. ---V. Vasan, Rovi

download (mp3 @320 kbs):

yandex 4shared mega mediafire cloudmailru uplea ge.tt

back

Véronique Gens - Tragédiennes II (2009)

2016-07-27T13:31:29Z

Véronique Gens - Tragédiennes II (2009)


1. Alceste - Acte III, Scene 3 - Air D'Aleceste: Grands Dieux Soutenez Mon Courage...Ah! Divinités Implacables	6:38 	
2.Dardanus - Act IV, Scene 6 - Air D'Iphise: Il Me Fuit....Rien Ne Peut Èmouvoir	3:49 	
3.Dardanus - Acte 1, Scene 1 - Air D'Iphise: Cesse Cruel Amour De Régner Sur Mon Àme		3:04 
4. Didon - Acte III, Scéne 1 - Air De Didon: Non, Ce N'est Plus Pour Moi		4:27 	
5. Orphée Et Eurydice: Ballet Des Ombres Heureuses	5:10 	
6.Orphée Et Eurydice: Air De Furies	4:02 	
7. Oedipe À Colone - Acte III, Scène 1 - Air D'Antigone: Dieux, Ce N'est Pas Pour Moi Que Ma Voix Vous Implore	2:20 	
8. Andromaque - Acte I, Scène 1 - Air D'Hermione: C'est Le Seul Espoir Qui Me Reste....Si Fidèle Au Noeud Qui L'engage	2:34 	
9. Les Palatins - Acte II, Scène 10: Entrée Très Gaye De Troubadours	2:25 	
10. Les Palatins - Acte I, Scène 1 - Air D'Argie: Triste Séjour	2:31 	
11. Les Palatins - Acte II, Scène 2: Sarabande	3:03 	
12. Renaud - Acte II, Scène 1 - Air D'Armide: Hélas Vous Le Dirais-Je....Ah! Que Dis-Tu?	3:33 	
13.Les Paladins - Acte II, Scène 10: Menuets I & II	4:33 	
14. Médée - Acte II, Scène 4 - Air De Néris: Ah! Nos Peines Seront Communes		8:24 	
15. Herminie - Récit & Air D'Herminie: Mais Sur Cette Arène Guerrière....Il n'est Plus....Dieux Cruels!	3:48 	
16.Les Troyens - Acte I - Récitatif & Air De Cassandre: Les Grecs Ont Disparu - Malheureux Roi	7:00

Véronique Gens (soprano)
Les Talens Lyriques
Christophe Rousset - director

The tragic operas of the French Baroque can be rough going for the new listener, whose eyes may glaze over when hearing about rules of French prosody, classical models, and Lully's dominance of the scene. But this single-disc recital solves any problems you may have had in encountering operatic music from Lully to Gluck. Credit soprano Véronique Gens, who has often sung lighter material and now is turning to the serious works of Rameau and his era at just the right time. Her voice is impressively versatile, with a muscular medium-wave vibrato that can easily drop off into a stage whisper or rise into anger. Credit conductor Christophe Rousset and his group Les Talens Lyriques, with their on-the-ball, sensitive accompaniment and unique catgut-scraping string sound. Credit booklet writer Jean Duron for a quick, painless introduction to the 100-year history of how French opera composers, working in the centralized musical system of the French monarchy, responded to the musical world as it changed around them. Credit the engineers from Virgin Classics, who have made the Church of Notre Dame-du-Liban in Paris into something resembling a close-up, row-five theatrical experience, and caught the powerful sense of immediacy and communication in Gens' singing. And credit whoever devised the program, which offers good-sized chunks of music from various operas, complete with overtures and other instrumental interludes, instead of a sequence of disconnected arias and random sonatas linked to the main program only by chronology. This album will earn praise from those who follow Gens closely, and for the general listener looking to hear some French Baroque opera arias it's a godsend -- the tragic heroine is a central figure of the era, and Gens and company have brought her fully to life. --- James Manheim, Rovi

download (mp3 @320 kbs):

yandex 4shared mega zalivalka cloudmailru uplea ge.tt

back