Carolyn Sampson: Fleurs
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss, Gabriel Fauré, Charles-François Gounod, Francis Poulenc, Claude Debussy, Robert Schumann, Lili Boulanger, Benjamin Britten, Roger Quilter, Henry Purcell, Franz Schubert, (Alexis-)Emmanuel Chabrier, Reynaldo Hahn
Genre:
Vocal
Label: BIS
Magazine Review Date: 05/2015
Media Format: Super Audio CD
Media Runtime: 68
Mastering:
DDD
Catalogue Number: BIS2102
Tracks:
Composition | Artist Credit |
---|---|
Pausanias, Movement: Sweeter than roses (song) |
Henry Purcell, Composer
Carolyn Sampson, Soprano Henry Purcell, Composer Joseph Middleton, Piano |
(6) Gedichte und Requiem, Movement: No. 2, Meine Rose |
Robert Schumann, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Robert Schumann, Composer |
(6) Gesänge, Movement: No. 6, Röselein, Röselein! |
Robert Schumann, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Robert Schumann, Composer |
(7) Elizabethan Lyrics, Movement: Damask roses (wds. Anon) |
Roger Quilter, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Roger Quilter, Composer |
The Nightingale and the Rose |
Benjamin Britten, Composer
Benjamin Britten, Composer Carolyn Sampson, Soprano Joseph Middleton, Piano |
(Le) Temps des roses |
Charles-François Gounod, Composer
Carolyn Sampson, Soprano Charles-François Gounod, Composer Joseph Middleton, Piano |
(4) Songs, Movement: No. 4, Les Roses d'Ispahan (wds. de Lisle) |
Gabriel Fauré, Composer
Carolyn Sampson, Soprano Gabriel Fauré, Composer Joseph Middleton, Piano |
(4) Lieder, Movement: No. 1, Das Rosenband (wds. Klopstock: 1897, orch 1897) |
Richard Strauss, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Richard Strauss, Composer |
Mädchenblumen |
Richard Strauss, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Richard Strauss, Composer |
(Die) Blumensprache |
Franz Schubert, Composer
Carolyn Sampson, Soprano Franz Schubert, Composer Joseph Middleton, Piano |
Im Haine |
Franz Schubert, Composer
Carolyn Sampson, Soprano Franz Schubert, Composer Joseph Middleton, Piano |
Lieder und Gesänge I, Movement: No. 4, Jasminenstrauch (wds. Rückert) |
Robert Schumann, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Robert Schumann, Composer |
(3) Gesänge, Movement: No. 2, Die Blume der Ergebung (wds. Rückert) |
Robert Schumann, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Robert Schumann, Composer |
Lieder-Album für die Jugend, Movement: Schneeglöckchen (wds. Rückert) |
Robert Schumann, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Robert Schumann, Composer |
Fleurs |
Francis Poulenc, Composer
Carolyn Sampson, Soprano Francis Poulenc, Composer Joseph Middleton, Piano |
(2) Songs, Movement: No. 1, La papillon de la fleur (1861) |
Gabriel Fauré, Composer
Carolyn Sampson, Soprano Gabriel Fauré, Composer Joseph Middleton, Piano |
(4) Songs, Movement: No. 2, Fleur jetée (wds. Silvestre) |
Gabriel Fauré, Composer
Carolyn Sampson, Soprano Gabriel Fauré, Composer Joseph Middleton, Piano |
Offrande |
Reynaldo Hahn, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Reynaldo Hahn, Composer |
Proses lyriques, Movement: De fleurs |
Claude Debussy, Composer
Carolyn Sampson, Soprano Claude Debussy, Composer Joseph Middleton, Piano |
Clairières dans le ciel, Movement: Les lilas qui avaient fleuri |
Lili Boulanger, Composer
Carolyn Sampson, Soprano Joseph Middleton, Piano Lili Boulanger, Composer |
Toutes les fleurs |
(Alexis-)Emmanuel Chabrier, Composer
(Alexis-)Emmanuel Chabrier, Composer Carolyn Sampson, Soprano Joseph Middleton, Piano |
Author: Richard Wigmore
If Sampson sounds slightly stretched by the climax of ‘Mohnblumen’, most extrovert of the Mädchenblumen songs, her silver-spun lines and radiance in alt make for enchanting performances of ‘Kornblumen’, with its long, Italianate cantilena, and the mysterious ‘Wasserrose’. In Britten’s unquiet Pushkin setting ‘The Nightingale and the Rose’ her purity of timbre and relative restraint are just as moving as the more unbridled performance by Vishnevskaya and Rostropovich (Decca, 6/70). In French song, too, Sampson is in her element, whether in the blithe, seductive grace of Gounod’s ‘Le temps des roses’ or the hothouse torpor of Debussy’s ‘De fleurs’, where she and Middleton respond sensitively to the sultry, shifting harmonies. After so much languor and wistfulness, the mingled passion and playful mockery – nicely caught by Sampson – of Chabrier’s ‘Toutes les fleurs!’ provides a delectable envoi to an imaginatively planned, beautifully executed recital that charms and touches by turns.
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