Bruneau, Alfred
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Viva l'Opera!
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ASIN: B000LP5FYK
Release Date: 2007-02-13 |
Average customer rating:
- Great French aria recital!!!
- The first great French tenor of the 21st century!
- A truly great recording
- Good but not great
- Alagna is a stud
|
Roberto Alagna - French Arias / Bertrand de Billy
Jules Massenet , Giacomo Meyerbeer , Etienne-Nicolas Méhul Charles Gounod , Camille Saint-Saëns, Alfred Bruneau, Luigi Cherubini Fromental Halévy , Edouard Lalo, François Bazin, Hector Berlioz, Ambroise Thomas Georges Bizet , and Roberto Alagna
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Similar Items:
- Roberto Alagna - Opera Arias
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- Roberto Alagna - Verdi Arias / Gheorghiu, Berlin Phil., Abbado
ASIN: B000058B1Y
Release Date: 2001-04-10 |
Tracks:
- Maitre Pathelin: Act 1. Romance: Je Pense A Vous
- Le Cid: Act 3: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere
- Les Abencerages: Act 2. Recitatif Et Air: Suspendez A Ces Murs... J'ai Vu Disparaitre L'espoir
- Mireille: Act 3. Cavatine: Mon Coeur Est Plein D'un Noir Souci... Anges Du Paradis
- L'Amant Jaloux: Act 2. Ser: Tandis Que Tout Sommeille
- La Juive: Act 4. Air: Rachel, Quand Du Seigneur
- Mignon: Act 3. Romance: Elle Ne Croyait Pas, Dans Sa Candeur Naive
- L'Africaine: Act 4: Pays Merveilleux
- La Damnation De Faust: Part 4, Scene XVI. Invocation A La Nature: Nature Immense
- Iphigenie En Tauride: Act 2. Recitatif Et Air: Quel Langage Accablant... Unis Des La Plus Tendre...
- Les Pecheurs De Perles: Act 1. Recitatif Et Romance: A Cette Voix Quel Trouble Agitait Tout Mon...
- Le Roi D'ys: Act 3. Puisqu'on Ne Peut Flechir... Vainement, Ma Bien-aimee
- Joseph: Act 1. Recitatif Et Air: Vainement Pharaon Dans Sa Reconnaissance... Champs Paternals
- Samson Et Dalila: Act 3: Vois Ma Misere, Helas!
- L'Attaque Du Moulin: Act 2: Le Jour Tombe, La Nuit Va Bercer Les Grands Chenes
Amazon.com
Roberto Alagna is without peer among contemporary tenors in the French repertory, as this excellent collection of staples, sprinkled with rarities, demonstrates. He has the right blend of sweetness for the lyric selections and exciting vocal heft for those requiring more muscle. If one must find something to carp at, it's the tenor's occasional tendency to slip into an inappropriate Italianate verismo style. Examples of the "sweet" Alagna are his gorgeous floating soft ending to "Je crois entendre encore," from Bizet's The Pearlfishers, and the lovely head voice in the Lalo aria. His "Rachel, quand du Seigneur," a favorite of tenors from Caruso to Richard Tucker, is taken at a sluggish tempo, but it has the requisite vocal finish and characterization. And Alagna creates the necessary sense of wonder in the opening of "Pays merveilleux," from Meyerbeer's L'Africaine. The Bruneau selection that closes the disc is a welcome rescue of a lovely farewell-to-life aria from a long-forgotten late-Romantic opera. Unlike most collections done with a generalized, one-size-fits-all approach, Alagna's finds him almost always in character. Bertrand De Billy's accompaniments are sometimes too restrained (the orchestral introduction to the Bizet aria is downright sleepy), but that shouldn't keep admirers of French opera and world-class singing from grabbing this disc. --Dan Davis
Customer Reviews:
Great French aria recital!!!.......2003-02-13
Roberto Alagna has the makings of a great French tenor. He has the style and diction down pat. This CD shows off his tenor to great effect. I especially liked the rare selections that were included. There is some wonderful French music on this disc.
Alagna is given great support by conductor Bertrand de Billy and the Royal Opera House Orchestra of Covent Garden. The sound is excellent. This disc was finely produced. On to the review.
Alagna's voice has a scratchy edge to it that gives character to his otherwise rough timbre. His voice is not ugly, but it is not the typical sweet voice of a French tenor. His voice grows on you. His voice also has some dramatic heft to it. He is best in the arias that require some dramatic heft, but not a whole lot. He is totally committed dramatically to the music that he sings. The aria from "Joseph" and the one from "Le Cid" are two great examples. He sings the famous aria from "La Juive" very well. However, on some of the arias, he tends to use too much unnecessary drama. The editorial reviewer was correct in saying that Alagna has a tendency to slip into inappropriate Italian verismo style. Alagna's rendition of the aria from "Samson et Dalila" is not that good. That aria is probably too heavy for his voice. The timbre of his voice takes on an unattractive edge when he sings that aria. Alagna sings the delightful Sérénade from "L'Amant Jaloux" very well with lovely pianissimos. However, it seems that he is a bit rough in his delivery of some of the words. By rough delivery, I mean the use of too much emotion. This charming piece is probably not suited to a relatively heavy voice like his. Also, the exquisite aria from "Le Roi d'Ys" suffers from rough delivery of some of the words. I also wish he had sung the word "vais" in the phrase "Je vais, hélas, mourir!" pianissimo like Nicolai Gedda does on his version of the aria. Alagna's rendition of the beautiful aria from "The Pearl Fishers" is excellent. His pianissimos are to die for! One previous reviewer said that his pianissimos sounded mechanically produced and that some were even unpleasant to the ears. Do not believe that person. Alagna has gorgeous pianissimos that are very naturally produced.
Overall, this is a great recital album that includes some very rare material. It is worth getting.
The first great French tenor of the 21st century!.......2001-06-23
Roberto Alagna is probably the greatest tenor to come from France since Georges Thill, widely considered to have been the greatest French tenor of the 20th century. This is unquestionably Alagna's best solo album, the equal of his astonishing work in Werther. All of his virtues are amply displayed here: a splendid voice, directness and honesty of expression, superb diction in his native French, intelligence, imagination, complete and utter immersion in character, and the ability to make each word he sings mean something. Throughout the disc we hear nobility and sweetness, elegance and passion, tenderness and pain, even charm and humor. This is not merely a 'stud', but a great artist in the service of music.
Most important of all is Alagna's questing spirit. While some superstar singers barely change or add to their repertory over decades of performing, Alagna is eager to mine the rich lode of French repertory (of which we only know a few nuggets) and bring otherwise unknown or forgotten works to a new public. Some of these arias haven't been recorded in at least 60 and even almost 80 years. In fact, so rarely performed are they that the ROH Orchestra had to borrow the orchestral parts for two arias from the Orchestre de Paris!
Since his career began Alagna's voice has grown in drama and power with little loss to the basic lyric quality of his instrument. He does so well with the more dramatic selections not only because of his great skill as a vocal actor, but also because he actually sings the arias beautifully and lyrically instead of just belting them. He is strongest when he can combine heroism with introspection, as in the arias from `Samson et Dalila', `Le Cid', and especially `La Juive', where he perfectly embodies the inner conflicts of these three very different religious men. Indeed I found the grief and guilt of a father about to lose his daughter in the last absolutely heartwrenching. Still, I hope Alagna waits a long time before doing any of these roles on stage, and limits his appearances in them to small theatres. The best track on the disc is `O Paradis', filled with the genuine wonder of discovery. In the aria from `Joseph', Alagna convinces in the widest range of emotions from nostalgia to rage to the desperate desire for reconciliation, and the aria from `Les Abencerages' is also a dramatic tour-de-force. There is also a truly heroic rendition of `Nature immense' from `La Damnation de Faust'. The glorious paean to friendship from `Iphigenie en Tauride' is both urgent and sensitive, and the farewell to life from `L'Attaque du Moulin' is sung even more beautifully than by some historic tenors.
He also shows that he is quite capable of the light touch, such as in the aria from `Le Roi d'Ys' and especially `Elle ne croyait pas' with its beautiful diminuendi. The aria from `Maitre Pathelin' which opens the disc is a sweet, lovely serenade capped by a splendid high C#. It's a pity that he does not take all of `Je crois entendre encore' as sweetly and headily as he takes certain phrases, but I admit to being extraordinarily picky about the performance of this aria and am only truly satisfied by Gedda.
As with his performances at the Met and elsewhere, Bertrand de Billy proves his skill in bringing out the spirit and elegance of French opera. If his tempi are a trifle slow (and nowhere near as much as those of, say, Michel Plasson) they only aid musical expression. He has been a long time friend and collaborator of Alagna, and their rapport shows here. The orchestra plays very well and London Voices makes a fine choral contribution to the `Samson et Dalila' scene.
If there is any complaint to be made, it is that while Alagna differentiates character superbly, he doesn't differentiate actual musical style much. Over 100 years separate the Gretry and Bruneau arias, and he sings them basically the same way. And there are a few moments where he overdoes the heroism (and volume) a bit, notably in `Anges du paradis' and the Gretry aria. Still, in the context of the disc's overall splendor, these are minor flaws. It's also a shame that the originally announced aria from `Herodiade' is not included. I presume it didn't fit onto the otherwise generously filled (73 minute) disc.
By and large the documentation is also very good. Admirers of French opera who have only heard the rarities on historical labels with minimal documentation will greatly appreciate the full texts and translations included here. There is a nice essay on the French tenor tradition 'which Roberto Alagna inherits' written by noted English critic John Steane, who also provided explanatory notes for each track (some for the rarities could have been slightly more detailed). Although I am glad that Alagna isn't subjected here to the sugary publicity gush that most singers these days get in their CD booklets (so much for him being 'overhyped'!), it's a pity that there is no biographical or career information about him or de Billy.
I really hope that Alagna gets his wish to have some of these and other rare operas recorded in their entirety and staged, but I doubt if the political and economic situation in the opera world will permit it. Even if performances or complete recordings are impossible, Alagna absolutely must record many more solo French albums. A Berlioz disc with both Enee's and Hylas' arias from Les Troyens is essential. Certainly this wonderful stage comedian should also record more comic repertory. And of course, he should continue to bring us many more recordings of arias that haven't been recorded in ages, and even some world premieres. I also seriously hope that he gives us his interpretations of French song repertory as well. Frankly, if he wants to record the Paris phone book, that's fine with me too!
A truly great recording.......2001-06-10
This album is among the best I ever heard. Alagna's beautiful tenor tone is truly amazing throughout the CD and his perfect French diction is very enjoyable. After listening mr. Alagna's French I prefer him to anyone else I've heard singing this repertoire. IMO the loveliest songs are "Je pense à vous" with the easy high C# and the light "Vainement, ma bien-aimée". I think the arias from Le Cid and Samson are a bit too heavy for him, but however, he sings them with the great interpretative power. It's possible that he uses a little too much pianissimo in the Bizet aria, but on the other hand that's where I think his voice is at its best. Nothing can take the fifth star away! This CD will be with me anywhere I go...
Good but not great.......2001-05-23
I generally liked this recording because it presents much unfamiliar material (Mehul, Bruneau) combined with Mr. Alagna's excellent diction. However, after I unwrapped the CD, I immediately compared his singing of "Je crois entendre encore" with Jussi Bjorling and found it lacking. Bjorling lets you feel the melancholy of what the character had and lost. He is obviously reliving his memories. The pianissimo at the end is truly haunting. Mr. Alagna's soft notes seem almost mechanically manufactured.and sometimes border on the unpleasant. He was best in those pieces that required more spinto sound (the selections from Samson et Dalila and Le Cid, for example). I would recommend this recording if only for the unfamiliarity of much of the material.
Alagna is a stud.......2001-05-06
This CD is primo Alagna. Only his first recital and maybe the Rondine are better. People say he's in decline, but they just need to listen to the Gluck track on this CD. Or the Meyerbeer. Or the Gounod. It's all great. Yay Roberto!
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L'Incomparable Georges Thill
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ASIN: B0000038E6
Release Date: 1995-01-25 |
Tracks:
- Heriodiade:'Ne pouvant reprimer'
- Aida: 'O celeste Aida'
- La Juive:' Rachel, quand du Seigneur'
- Alceste: 'Bannis la crainte st les alarmes'
- Le Cid: 'O noble lame etincelante'
- Les Huguenots: 'Plus blanche que la blanche hermine'
- Paillasse: 'Pauvre Paillasse'
- Lohengrin: 'Aux bords lointains'
- La Traviata: 'Je suis aime de toi'
- Guillaume Tell: 'Asile hereditaire'
- Joseph: 'Vainement Pharaon'
- Sapho: 'Ah! qu'il est loin mon pays'
- Romeo et Juliette: 'Ah! leve-toi soleil'
- Fortunio: 'J'aimais ma vieille maison grise'
- L'Attaque Du Moulin: 'Adieu foret profonde'
Average customer rating:
- Bruneau is a latest, old fashion and romantic
|
Alfred Bruneau Orchestral Highlights
Manufacturer: Marco Polo
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Binding: Audio CD
Symphonies
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ASIN: B0000045ZP
Release Date: 1994-04-05 |
Tracks:
- Messidor: Prelude To Act IV
- Messidor: The Legend Of Gold
- Nais Micoulin: Prelude To Act I
- L'attaque du moulin - Suite: Prelude And Song
- L'attaque du moulin - Suite: War, Forest
- L'attaque du moulin - Suite: Betrothal At The Mill
Customer Reviews:
Bruneau is a latest, old fashion and romantic.......1999-01-06
Bruneau was the pupil of Massenet who influence his music. He was an important composer of his time. In these days he was forgotten for the audiences. His friendship with the writer Emilé Zolá was determinant and thanks for that, he created his best operas and compositions.
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The Harold Wayne Collection Vol. 23
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ASIN: B000001XWO
Release Date: 1995-12-12 |
Average customer rating:
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Manet: Music of His Time
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
Waltzes
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ASIN: B00008OP1V
Release Date: 2004-03-01 |
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- Tenor here at his finest in diverse French program
|
French Opera Arias
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD
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Deutsche Grammophon: Music
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ASIN: B000F7M7U4
Release Date: 2006-07-04 |
Tracks:
- Romance 'Je Pense A Vous'
- Ah! Tout Est Bien Fini...O Souverain, O Juge, O Pere
- Suspendez A Ces Murs...J'ai Vu Disparaitre L'espoir
- Mon Coeur Est Plein D'un Noir Souci...Anges Du Paradis
- Tandis Que Tout Sommeille
- Rachel, Quand Du Signeur
- Elle Ne Croyait Pas, Dans Sa Candeur Naive
- Pays Merveilleux
- Nature Immense
- Quel Language Accablant...Unis Des La Plus Tendre Enface
- A Cette Voix...Je Crois Entendre Encore
- Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee
- Vainement Pharaon Dans Sa Reconnaissance...Champs Paternels
- Vois Ma Misere, Helas!
- Le Jour Tombe, La Nuit Va Bercer Les Grands Chenes
Customer Reviews:
Tenor here at his finest in diverse French program.......2006-07-21
(The following originally posted 07.12.05 as a review of the same disc, as originally issued by EMI. Update on contents, notable shift in sound quality will follow, if necessary).
It frequently has seemed to me that French-Sicilian lyric tenor Roberto Alagna fares the best in the French repertoire, and least so in dramatic Italian repertoire. Nothing to contradict any of the above here, this makes for a most enticing program, a number of arias being from unfamiliar operas.
Alagna has the greatest ease of course in the most lyrical excerpts chosen, for instance the insouciant charm of the opening aria from a light opera by Francois Bazin about a character naive in love, and including an easily reached top C-sharp right before the end. This is also the case with a charming aubade from what is usually a much heavier piece by Edouard Lalo, Le roi d'Ys (from which the overture survives in the concert repertoire), and Wilhelm Meister's romance from Thomas's Mignon, in which this older character (the age of which Alagna is subtle at catching) delights in how very charming his young daughter Mignon has become. He sings a brief romance by Gretry deftly enough and with charm, but the accompaniment for it is a bit anonymously modern sounding here. It is cleverly placed in this program right before the Halevy discussed below, for their tuneful similarities at outset of each.
Equally sublime, if slightly darker, is Pylades' appeal to Oreste from Gluck's Iphigenie en Auride, the prospect of dying together as friends with him in upcoming fighting. Following the model of Gluck and without being as stark in contrast as, for example "Inutiles regrets" from Les Troyens (not included here and a voice killer for a lyric voice), but anticipating Berlioz in psychological contrast and irregular phrase rhythms and shaping, is an aria from Etienne-Nicolas Mehul's opera, Joseph, in which Joseph calls on his brothers to repent and make peace with him, even as flattered as he is under the patronizing tutelage of Pharaoh. These two arias are probably worth the price of admission alone, as expressively and specifically Alagna makes the case for both.
"Rachel, quand du Seigneur" from Halevy's La Juive is also a highlight of this recital, and like in the Thomas above, Alagna sings with a little darker color, giving his character here the right sense of gravitas and sorrow along these lines, without ever in this aria excessively pushing his limits. A long phrase that takes Alagna to a high B-Flat and down to an E-Flat over an octave below has a color to it, during which he does not take more than one staggered breath, that may so briefly remind fans of historical vocal recordings, of the Corsican tenor Cesar Vezzani, along with perhaps one other place or two elsewhere on this recital. An aria that expresses equally great pain of regret, but for a character not in quite the same predicament, is a warrior's aria by Cherubini, the hero in which who has just won a battle, but failed to recover his country's flag, thus also losing the girl he loves. One finds Alagna, sounding petulant at turns during it, close to being equally expressive here.
Heavier pieces on this program fare less well, but Alagna mostly remains judicious in how he chooses to make his way through each of them. And yet he still he has to bench press, loses intonation here and there, and runs the risk of curdling the quality of his sound at the break and above. He has a little easier time somehow with the long prison aria for Samson in Saint-Saens' opera than with the aria from Le Cid, but he still sings even that with connected line and good tastes, all the same.
The dark Invocation to Nature from Berlioz's Damnation of Faust finds Alagna coasting to get through this vocally most awkward, yet brief, emotionally intense moment. The placing of the orchestra on this piece is a bit recessed, and for fear of strain to Alagna's voice, they do little to abet his shaping of it, as much as they could at least with a more dramatic voice.
Of more exotic appeal is the so familiar aria from Meyerbeer's L'Africaine, in which Alagna is facile in catching the explorer's sense of wonder and ambition in a new land. Alagna tends to croon some of the equally familiar aria from Bizet's Pearl Fishers, and whereas being well in character, loses intonation a little at the close to it. Of equally sensuous appeal are arias from Gounod's Mireille (also on Rolando Villazon's recent Massenet/Gounod album), "Anges du paradis", and from L'attaque du moulin by Massenet protege and Emile Zola friend and admirer Alfred Bruneau. Both serve as potential object lessons to the competing tenor in how to sing the first number lightly, with an exquisitely tapered off ascent to a G-sharp in the former, and to find greater simplicity in singing music in the same idiom, the Bruneau, as the two closing Massenet numbers on Villazon's album. Alagna, following the lament from Samson et Dalila, closes very nicely with the Bruneau aria, and with sufficient heroic stance, without unduly stretching his limits.
Accompaniments by Bertrand de Billy and the Royal Opera House orchestra (with a few moments of recessed chorus only in the Saint-Saens) are mostly skillful, musical, without being clearly specific and well contrasted to each musical idiom from different periods of French opera as one might desire. This is altogether a most enjoyable album, however, for at least sake of the discovery of cruelly neglected repertoire, all of for which Alagna makes the case most persuasively.
Average customer rating:
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Bruneau: Requiem/Lazare
Manufacturer: Ades Records
ProductGroup: Music
Binding: Audio CD
Requiems
| Forms & Genres
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Vocal & Song
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General
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General
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ASIN: B000004C8G
Release Date: 1996-01-23 |
Average customer rating:
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Three Tenors of the Opéra-Comique
Manufacturer: Marston
ProductGroup: Music
Binding: Audio CD
All Works by Massenet
| Massenet, Jules
| ( M )
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General
| Saint-Saëns, Camille
| ( S )
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| Thomas, Ambroise
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Romances
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ASIN: B00004TQPZ
Release Date: 2000-06-13 |
Amazon.com
Marston's mining of historical recordings of French operas and singers yields hordes of gold, and this CD taps the mother lode of the heyday of French tenors, the early 1920s. The real find is the melting beauty of Louis Cazette's light tenor voice. His sensuous head voice and glorious diction in the Manon arias and the way he caresses the words "cher Mignon" put you in another world of now-lost vocal virtues. Jean Marny, heard in five arias, sings with great textual sensitivity, coloring his voice in Werther's death scene to convey heartbreaking sadness and lending a lilting swing to the Mignon aria. Charles Friant, the best known of the trio, has six selections, displaying a voice with more muscle than his peers, used with flexibility and exquisite sensitivity albeit with a vibrato exaggerated by the acoustic recording process. As always, Marston's transfers make these ancient recordings come alive. Indispensable! --Dan Davis
![Alfred Bruneau: Requiem; Lazare [Germany]](http://ec1.images-amazon.com/images/I/31FP6NJ0D5L.jpg)
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Alfred Bruneau: Requiem; Lazare [Germany]
Mercier , and Orchestre National D'ile De France
Manufacturer: RCA Red Seal
ProductGroup: Music
Binding: Audio CD
General
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ASIN: B00004VSPM |
Music Composers:
- Bryars, Gavin
- Buck, Ole
- Bull, John
- Burgmüller, August Joseph Norbert
- Burgmüller, Johann Friedrich Franz
- Ferruccio Benvenuto Busoni
- Butterworth, Arthur
- Buxtehude, Dietrich
- Byrd, William
- Caccini, Francesca
Music Composers
Music Composers