Régine Crespin sings Verdi and Wagner Arias
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Verdi, Richard Wagner
Label: Studio
Magazine Review Date: 1/1989
Media Format: CD or Download
Media Runtime: 65
Mastering:
ADD
Catalogue Number: 769547-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Macbeth, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Don Carlo, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Don Carlo, Movement: Tu che le vanità |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Aida, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Lohengrin, Movement: Einsam in trüben Tagen (Elsa's Dream) |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| Lohengrin, Movement: Euch Lüften, die mein Klagen |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| (Der) Ring des Nibelungen: Part 2, '(Die) Walküre', Movement: Der Männer Sippe |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| Parsifal, Movement: Ich sah das Kind (Herzeleide) |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
Composer or Director: Giuseppe Verdi, Richard Wagner
Label: Studio
Magazine Review Date: 1/1989
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: EG769547-4
Tracks:
| Composition | Artist Credit |
|---|---|
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Macbeth, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Don Carlo, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Don Carlo, Movement: Tu che le vanità |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Aida, Movement: ~ |
Giuseppe Verdi, Composer
Georges Prêtre, Conductor Giuseppe Verdi, Composer Paris Conservatoire Orchestra Régine Crespin, Soprano |
| Lohengrin, Movement: Einsam in trüben Tagen (Elsa's Dream) |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| Lohengrin, Movement: Euch Lüften, die mein Klagen |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| (Der) Ring des Nibelungen: Part 2, '(Die) Walküre', Movement: Der Männer Sippe |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
| Parsifal, Movement: Ich sah das Kind (Herzeleide) |
Richard Wagner, Composer
French Radio National Orchestra Georges Prêtre, Conductor Régine Crespin, Soprano Richard Wagner, Composer |
Author:
Crespin's distinction is best savoured in the Sleepwalking scene. Lady Macbeth's haunted mind becomes the very substance of the voice, a tone in limbo, like the eyes which are open though their sense is shut. In a different kind of dream-world, that of Elsa in Lohengrin, she is also effective, and remarkably successful is slimming the voice, which now expresses a rapt maidenly innocence. It was of course a big voice, not so as to justify Karajan's attempt to make a Brunnhilde of her, but a good, ample, house-filling sound, as we hear in ''O don fatale''. We also sense that she is happier with the tessitura of this mezzo-soprano aria (as of Sieglinde's and Kundry's solos) than with the high-climbing phrases of Un ballo in maschera.
Her voice acquired a somewhat hard, metallic shell when singing forte above the middle notes (though she could still float some beautiful quiet high notes as she does in the arching melody of ''Tu che ie vanita''). She also favoured slow speeds, abetted by Pretre whose slow march introducing ''Ritorna vincitor'' is risible—and we remember that this was the record Callas happened to hear in the studios the day after it had been made, prompting the cry ''This is not Verdi or Aida'' and a demonstration (recorded there and then) of how it should go. Crespin had ideas of her own, not always conforming to the Italian tradition, but perhaps none the less valuable for that.'
Her voice acquired a somewhat hard, metallic shell when singing forte above the middle notes (though she could still float some beautiful quiet high notes as she does in the arching melody of ''Tu che ie vanita''). She also favoured slow speeds, abetted by Pretre whose slow march introducing ''Ritorna vincitor'' is risible—and we remember that this was the record Callas happened to hear in the studios the day after it had been made, prompting the cry ''This is not Verdi or Aida'' and a demonstration (recorded there and then) of how it should go. Crespin had ideas of her own, not always conforming to the Italian tradition, but perhaps none the less valuable for that.'
Régine Crespin sings Verdi and Wagner Arias
Régine Crespin sings Verdi and Wagner Arias
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