Juan Diego Flórez: L'Amour
View record and artist detailsRecord and Artist Details
Composer or Director: Adolphe (Charles) Adam, Hector Berlioz, Charles-François Gounod, Gaetano Donizetti, (Charles Louis) Ambroise Thomas, (Clément Philibert) Léo Delibes, (François) Adrien Boïeldieu, Georges Bizet, Jules (Emile Frédéric) Massenet, Jacques Offenbach
Genre:
Opera
Label: Decca
Magazine Review Date: 06/2014
Media Format: CD or Download
Media Runtime: 64
Mastering:
DDD
Catalogue Number: 478 5948DH
Tracks:
Composition | Artist Credit |
---|---|
(La) Dame blanche, Movement: Ah! quel plaisir d'être soldat! |
(François) Adrien Boïeldieu, Composer
(François) Adrien Boïeldieu, Composer Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
(La) Jolie fille de Perth, '(The) Fair Maid of Per, Movement: À la voix d'un amant fidèle (Sérénade) |
Georges Bizet, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Georges Bizet, Composer Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
(La) Favorite, Movement: Une ange, une femme inconnue |
Gaetano Donizetti, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Gaetano Donizetti, Composer Juan Diego Flórez, Tenor Roberto Abbado, Conductor Sergey Artamonov, Bass |
(Les) Troyens, '(The) Trojans', Movement: O blonde Cérès |
Hector Berlioz, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Hector Berlioz, Composer Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
(Le) Postillon de Lonjumeau, Movement: Mes amis, écoutez l'histoire (Freunde, vernehmetichte) |
Adolphe (Charles) Adam, Composer
Adolphe (Charles) Adam, Composer Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
Lakmé, Movement: ~ |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
Werther, Movement: ~ |
Jules (Emile Frédéric) Massenet, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Jules (Emile Frédéric) Massenet, Composer Roberto Abbado, Conductor |
Mignon, Movement: ~ |
(Charles Louis) Ambroise Thomas, Composer
(Charles Louis) Ambroise Thomas, Composer Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
(La) Dame blanche, Movement: Viens, gentille dame |
(François) Adrien Boïeldieu, Composer
(François) Adrien Boïeldieu, Composer Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
(La) Belle Hélène, 'Beautiful Helen', Movement: Au mont Ida (Paris) |
Jacques Offenbach, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Jacques Offenbach, Composer Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
Roméo et Juliette, 'Romeo and Juliet', Movement: ~ |
Charles-François Gounod, Composer
Bologna Teatro Comunale Chorus Bologna Teatro Comunale Orchestra Charles-François Gounod, Composer Juan Diego Flórez, Tenor Roberto Abbado, Conductor |
Author:
As such, the more wistful, gentle numbers, where the tenor’s musicality shines through and the voice is allowed to relax, struck me as the most enjoyable. The main part of the Serenade from Bizet’s opera – more Provence than Perth in feel, admittedly – is sung with touching gentleness; Iopas’s glorious ‘O blonde Cérès’ from Les Troyens is a delight but even here there could be a little more light and shade. The sprightlier numbers are a lot of fun, the first Boïeldieu aria (capped with a ringing top D) and the Adam in particular; the final hushed phrase of the Dame blanche aria is meltingly done, too. He’s on something like home ground with the Donizetti scene, which is securely and cleanly sung.
The main interest, however, probably lies in the two arias from Werther, an opera Flórez is due to tackle in the theatre in a couple of years’ time. He sings them with characteristic elegance but I can’t imagine this – or Gounod’s Roméo – is ever going to be anything like a natural fit, and he relies on the engineering to save him from getting swallowed up by the orchestra (decently conducted throughout) in the climaxes.
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