Angela Gheorghiu - My World

Record and Artist Details

Composer or Director: Edvard Grieg, Nicholas Brodszky, Ottorino Respighi, Robert Schumann, Choi Young Sup, Antonín Dvořák, Jaime Ovalle, Traditional, Manuel de Falla, (Clément Philibert) Léo Delibes, Mitake, Erik Satie, Mezzetti, Francis Poulenc, Franz Liszt, Tiberiu Brediceanu, Ruggiero Leoncavallo, Xavier Montsalvatge, Manos Hadjidakis, Alessandro Parisotti, Franz Schubert, Richard Strauss, Cavadia, Johann Paul Aegidius Martini

Label: Decca

Media Format: CD or Download

Media Runtime: 75

Mastering:

DDD

Catalogue Number: 458 360-2DH

Tracks:

Composition Artist Credit
Plaisir d'amour Johann Paul Aegidius Martini, Composer
Angela Gheorghiu, Soprano
Johann Paul Aegidius Martini, Composer
Malcolm Martineau, Piano
Se tu m'ami Alessandro Parisotti, Composer
Alessandro Parisotti, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Nebbie Ottorino Respighi, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Ottorino Respighi, Composer
Mattinata, '(L')aurora di bianco vestita' Ruggiero Leoncavallo, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Ruggiero Leoncavallo, Composer
(7) Canciones populares españolas, Movement: El paño moruno Manuel de Falla, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Manuel de Falla, Composer
(5) Canciones negras, Movement: Canto negro (wds. Guillén) Xavier Montsalvatge, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Xavier Montsalvatge, Composer
Je te veux Erik Satie, Composer
Angela Gheorghiu, Soprano
Erik Satie, Composer
Malcolm Martineau, Piano
(Les) Filles de Cadix (Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
(Les) Chemins de l'amour Francis Poulenc, Composer
Angela Gheorghiu, Soprano
Francis Poulenc, Composer
Malcolm Martineau, Piano
Peer Gynt, Movement: Solvejg's Song (orch version) Edvard Grieg, Composer
Angela Gheorghiu, Soprano
Edvard Grieg, Composer
Malcolm Martineau, Piano
Myrthen, Movement: No. 1, Widmung (wds. Rückert) Robert Schumann, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Robert Schumann, Composer
Myrthen, Movement: No. 24, Du bist wie eine Blume (wds. Heine) Robert Schumann, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Robert Schumann, Composer
Schwanengesang, 'Swan Song', Movement: No. 4, Ständchen Franz Schubert, Composer
Angela Gheorghiu, Soprano
Franz Schubert, Composer
Malcolm Martineau, Piano
(8) Lieder aus Letzte Blätter, Movement: No. 1, Zueignung (orch 1940) Richard Strauss, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Richard Strauss, Composer
Mult ma'ntreaba inima Tiberiu Brediceanu, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Tiberiu Brediceanu, Composer
Cântec se sirena Mezzetti, Composer
Mezzetti, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Umbra Cavadia, Composer
Cavadia, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
(7) Gipsy Melodies, 'Zigeunerlieder', Movement: No. 4, Songs my mother taught me Antonín Dvořák, Composer
Angela Gheorghiu, Soprano
Antonín Dvořák, Composer
Malcolm Martineau, Piano
Oh! quand je dors Franz Liszt, Composer
Angela Gheorghiu, Soprano
Franz Liszt, Composer
Malcolm Martineau, Piano
Pai efiye to treno Manos Hadjidakis, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Manos Hadjidakis, Composer
Durme, kerido hijico Traditional, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Traditional, Composer
Guriwoon Guemgang San Choi Young Sup, Composer
Angela Gheorghiu, Soprano
Choi Young Sup, Composer
Malcolm Martineau, Piano
Kawa no Nagare no yô ni Mitake, Composer
Mitake, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Azulão Jaime Ovalle, Composer
Angela Gheorghiu, Soprano
Jaime Ovalle, Composer
Malcolm Martineau, Piano
(The) Toast of New Orleans, Movement: Be my love Nicholas Brodszky, Composer
Angela Gheorghiu, Soprano
Malcolm Martineau, Piano
Nicholas Brodszky, Composer
This eclectic programme makes a welcome change from recorded recitals devoted to one composer, one genre. Gheorghiu avers, in a disarmingly frank note, that she thrives on change, loves to be in different countries and experience different idioms so she “wanted to create a unique recital programme that would reflect all these aspects of my interests”. She certainly has done that: her generous choice boxes the compass from classical through German, Spanish, Italian and French song to ethnic pieces.
She also points out, quite rightly, that many of the items exploit the warm qualities of her lower voice: the haunting pieces, semi-popular, from the far east, for instance; even more the Greek popular song, one of the tracks – I predict – that will soon be heard a great deal over the air. Still better, not surprisingly, are the three songs from her native Romania, especially the seductive Siren’s song and the glorious Umbra, a late-nineteenth-century romance. Then there’s an old favourite of mine, Ovalle’s insinuating Azulao, chosen apparently at the suggestion of Martineau, the singer’s creative partner, and sung in that soft-grained manner peculiar to Gheorghiu.
She ends with a bravura account of the Lanza favourite Be my love, the slight accent in the English almost an advantage. Similarly her indeterminate German makes her three Lieder sound unidiomatic, but each of these love-songs is given with such conviction that the customary criteria for judgement can for once be set aside. Her French is much better; in any case the erotic charge of the Satie and Poulenc pieces is amply felt. In Oh! quand je dors, and occasionally elsewhere, I felt Gheorghiu’s style a little too laid back, with some unwanted sliding between notes, but the languorous feeling in this, the best of all Liszt’s songs, is conveyed, and all is forgiven when the final phrase is sung in one breath on a diminuendo.
There’s much else to commend: the elegiac quality in Respighi’s infinitely sad Nebbie contrasting with the earthy high spirits of Montsalvatge’s Canto negro and the Delibes song, and the wistful touch in the famous Dvorak. With an admirably faithful recording as a bonus, this ought to be a runaway success.'

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