Chant d'amour-Bartoli
View record and artist detailsRecord and Artist Details
Composer or Director: Maurice Ravel, Georges Bizet, Hector Berlioz, (Michelle Ferdinande) Pauline Viardot-Garcia, (Clément Philibert) Léo Delibes
Label: Decca
Magazine Review Date: 12/1996
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 452 667-2DH
Tracks:
| Composition | Artist Credit |
|---|---|
| Chant d'amour |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Ouvre ton coeur (La marguerite a fermé) |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Adieux de l'hôtesse arabe |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Tarantelle |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| (La) Coccinelle |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| (Les) Filles de Cadix |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Haï luli! |
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Havanaise |
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Tristia, Movement: No. 2, La mort d'Ophélie |
Hector Berlioz, Composer
Cecilia Bartoli, Mezzo soprano Hector Berlioz, Composer Myung-Whun Chung, Piano |
| Zaïde |
Hector Berlioz, Composer
Cecilia Bartoli, Mezzo soprano Hector Berlioz, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson espagnole |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson française |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson italienne |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson hébraïque |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Vocalise-étude en forme de habanera |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| (2) Mélodies hébraïques |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Tripatos |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
Composer or Director: Maurice Ravel, Georges Bizet, Hector Berlioz, (Michelle Ferdinande) Pauline Viardot-Garcia, (Clément Philibert) Léo Delibes
Label: Decca
Magazine Review Date: 12/1996
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 452 667-4DH
Tracks:
| Composition | Artist Credit |
|---|---|
| Chant d'amour |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Ouvre ton coeur (La marguerite a fermé) |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Adieux de l'hôtesse arabe |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| Tarantelle |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| (La) Coccinelle |
Georges Bizet, Composer
Cecilia Bartoli, Mezzo soprano Georges Bizet, Composer Myung-Whun Chung, Piano |
| (Les) Filles de Cadix |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Haï luli! |
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Havanaise |
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer
(Michelle Ferdinande) Pauline Viardot-Garcia, Composer Cecilia Bartoli, Mezzo soprano Myung-Whun Chung, Piano |
| Tristia, Movement: No. 2, La mort d'Ophélie |
Hector Berlioz, Composer
Cecilia Bartoli, Mezzo soprano Hector Berlioz, Composer Myung-Whun Chung, Piano |
| Zaïde |
Hector Berlioz, Composer
Cecilia Bartoli, Mezzo soprano Hector Berlioz, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson espagnole |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson française |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson italienne |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Chants populaires, Movement: Chanson hébraïque |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Vocalise-étude en forme de habanera |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| (2) Mélodies hébraïques |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
| Tripatos |
Maurice Ravel, Composer
Cecilia Bartoli, Mezzo soprano Maurice Ravel, Composer Myung-Whun Chung, Piano |
Author: Patrick O'Connor
Cecilia Bartoli goes from strength to strength. Taking on the French repertory in this delightful disc, she also gives us some great rarities. The opening Bizet group includes two of his best-known songs, Ouvre ton coeur and Adieux de l’hotesse arabe. In the first, one perhaps might ask for more of a smile in the voice. Predictably, in the pessimistic Hugo poem about the Arab girl bidding farewell to the handsome traveller, Bartoli relishes the muezzin-like vocalise on “Helas, adieu, souviens-toi”. This is one of the best performances of this mini-drama since Conchita Supervia’s orchestral-accompanied version. In this, and the succeeding Tarantelle, “tra-la-la”s and froth, one is prompted to wonder if there will one day be a Bartoli Carmen.
The big surprise of the Bizet group, again a setting of Hugo, is a song totally unknown to me, La Coccinelle (“The ladybird”). A fable of a gentleman trying to kiss the insect, it is a little salon gem, with a fast waltz motif. Bartoli uses a croaky little voice to act out the Ladybird. This song alone is worth the price of the CD.
Delibes’s Les filles de Cadix, all trills and sunshine, is contrasted with an equally demanding setting of the same poem by Pauline Viardot. Although there is a whole CD devoted to Viardot’s songs (by Karin Ott on CPO, 12/90) which I haven’t heard, I rather think that for most other people these three melodies will be their introduction to Viardot’s songs.Hai luli! with words by Xavier de Maistre is a sad second-cousin to the Willow Song from Rossini’s Otello (an opera central to the repertory of Viardot’s sister, Maria Malibran). Havanaise is a real curiosity: the first and last stanzas, sung in Spanish, frame a middle section in French which breaks into a Rossinian flight of coloratura before returning to the swaying movements of the dance. Evenings chez Viardot must have been enlivened considerably by such songs.
One can imagine that Viardot might easily have sung both Berlioz songs. The narration of Ophelia’s death, words by Ernest Legouve, vaguely based on Shakespeare, ends with a wordless melody which Bartoli sings in a hushed, beautiful tone. In Zaide she plays the castanets with skill; if this song is less interesting than the evocations of Spain by Bizet, Delibes and Viardot, that’s Berlioz’s fault, not Bartoli’s.
In the concluding Ravel group, an interesting contrast can be made between Viardot’s Havanaise of the 1840s and Ravel’s Habanera of 1907. In the four popular songs, Bartoli is especially effective in the Hebrew number as well as the two other Melodies hebraiques, “Kaddish” and “L’enigme eternelle”. All these Ravel songs have often been recorded, so I cannot help wishing that Bartoli and Myung-Whun Chung had stayed with the nineteenth-century French salon repertory to uncover more rarities. Still, this is one of the most satisfying recitals by one of the great singers of our time. First-rate recording and sensitive accompaniment throughout.'
The big surprise of the Bizet group, again a setting of Hugo, is a song totally unknown to me, La Coccinelle (“The ladybird”). A fable of a gentleman trying to kiss the insect, it is a little salon gem, with a fast waltz motif. Bartoli uses a croaky little voice to act out the Ladybird. This song alone is worth the price of the CD.
Delibes’s Les filles de Cadix, all trills and sunshine, is contrasted with an equally demanding setting of the same poem by Pauline Viardot. Although there is a whole CD devoted to Viardot’s songs (by Karin Ott on CPO, 12/90) which I haven’t heard, I rather think that for most other people these three melodies will be their introduction to Viardot’s songs.
One can imagine that Viardot might easily have sung both Berlioz songs. The narration of Ophelia’s death, words by Ernest Legouve, vaguely based on Shakespeare, ends with a wordless melody which Bartoli sings in a hushed, beautiful tone. In Zaide she plays the castanets with skill; if this song is less interesting than the evocations of Spain by Bizet, Delibes and Viardot, that’s Berlioz’s fault, not Bartoli’s.
In the concluding Ravel group, an interesting contrast can be made between Viardot’s Havanaise of the 1840s and Ravel’s Habanera of 1907. In the four popular songs, Bartoli is especially effective in the Hebrew number as well as the two other Melodies hebraiques, “Kaddish” and “L’enigme eternelle”. All these Ravel songs have often been recorded, so I cannot help wishing that Bartoli and Myung-Whun Chung had stayed with the nineteenth-century French salon repertory to uncover more rarities. Still, this is one of the most satisfying recitals by one of the great singers of our time. First-rate recording and sensitive accompaniment throughout.'
Chant d'amour-Bartoli
Chant d'amour-Bartoli
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