Natalie Dessay (soprano)
À L'Opéra
rec. 1996-2010
No sung texts included.
ERATO 9029505778 [3 CDs: 220:19]
Soprano Natalie Dessay’s new collection À L'Opéra (At the Opera) consists of forty-one opera arias that span fourteen years of her recording career. This compilation of previously released material has been cherry-picked from albums on EMI Classics, Virgin Classics and Erato, and brought together under parent label Warner Classics/Erato. Some of these arias, already plucked from their original albums, appear on other Dessay collections.
Dessay – born in Lyon, raised in Bordeaux and Parisian by adoption – has been a much-admired singer on the opera stage. She graduated from the Bordeaux Conservatoire and commenced her career as a chorus member at Toulouse Opera. In 1988 she won a Les Voix Nouvelles competition and embarked on a course of study at École d'art lyrique at the Paris Opera. At Marseille in 1989, she sang her debut solo role as Barbarina in Mozart’s Le Nozze di Figaro.
Naturally ebullient and charismatic, Dessay soon became known for her Romantic coloratura roles in French and German repertoire; she considered German her second language. She sang Olympia in Les Contes d’Hoffmann, the eponymous heroine in Lakmé, the Queen of the Night in Die Zauberflöte and Zerbinetta in Ariadne auf Naxos, among other roles. She excelled in the challenging lyric roles of tragic heroines such as the mistreated and rejected Ophélie in Hamlet, the dying courtesan Violetta in La traviata, and the wronged and tormented Lucia (she actually took on both the Italian version Lucia di Lammermoor and the French version Lucie de Lammermoor).
Dessay has had a memorable career on the opera stage. She has been described over the years by such superlatives as one-off, wildly talented, multi-faceted, formidable, perfect for mad-scenes, beyond categorisation, and more. After twenty-three years, she shocked her devoted admirers when she announced that a performance of Manon at the Toulouse Opera in October 2013 was to be her final opera performance. She explained that for her voice type she only had a limited choice of repertoire, and she did not feel inclined to continue taking on the roles of young girls.
Somewhat unexpectedly, Dessay then announced a strong desire to pursue her long-held passion for acting on the theatre stage. Before her singer training began, her goal had been acting. She always believed herself to be an actress who sang. Of course, opera was a medium where she was able to act. She decided to continue her career as a solo recitalist that she had recommenced in 2012 after a break of fifteen years. Inevitably, her recital programmes contained the mélodies (art-songs) of the French masters, notably Debussy, Fauré, Ravel Poulenc and Duparc, and perhaps surprisingly the music of Michel Legrand who had written a song cycle for her. Her recital programmes often include a German Lieder component, with composers such as Schubert, Mendelssohn, Wolf, Pfitzner and Richard Strauss. Dessay has said she never feels entirely at ease singing on stage, but one would never know this given the quality of her performances.
The first disc comprises French music, mainly Romantic repertoire and a single Ravel aria. Les contes d'Hoffmann stands out for its significance in Dessay’s career. It was Olympia the singing clockwork doll that she first sang at the Opéra Bastille, Paris in 1992 in Roman Polanski’s staging that propelled her into the limelight and international prominence. In this recording, in Monte-Carlo in 1996, Dessay revels in Olympia’s amusing aria known as the ‘Doll Song’, delivered with assurance and freedom; Dessay’s striking coloratura makes an impression. Some writers have experienced Dessay’s coloratura as having a slightly bitter edge, yet her tone has never been a concern to me. One of most tragic roles is Ophélie in Hamlet that Dessay recorded at Monte-Carlo in 1996. In the highly emotional mad scene, her voice is entirely convincing yet she remains in control as Ophélie’s abusive treatment drives her to insanity.
Italian Romantic opera arias appear on the second disc. The most conspicuous are the sections that make up Lucia’s famous mad scene from Lucia di Lammermoor. Dessay is accompanied by Matthew Rose (Raimondo), Wolfgang Klose (Normanno) and Franck Ferrari (Enrico), and by the eerie sounds of the glass harmonica. This is an affecting performance. Dessay skillfully delivers her emotionally fired words with genuineness. Maria Callas, famous for her interpretation of Lucia, would only use minimum ornamentation in the mad scene. Even so, the style, taste and delivery of Dessay’s ornamentations sound ideal for this bel canto masterpiece, and not just to show off the voice.
Disc three has six German arias, four in Italian and one each in Russian and English. The composers range from Handel to Bernstein, showing Dessay’s variety of roles. After hearing Dessay’s 2011 album Cleopatra - Handel arias from Giulio Cesare (review) I was thrilled by how well her voice adapts to baroque arias. From that album, with period instruments, three Cleopatra arias have been chosen here. Dessay excels in the de capo aria a lament Se pietà di me non senti where she sings of her love for Cesare with convincing expression. Another highlight is Bernstein’s Glitter and Be Gay, Cunégonde’s celebrated coloratura aria from the opera Candide. It remains a popular choice as a stand-alone showpiece by many opera stars who might perform it in special concerts. This recording is taken from a gala concert at Glyndebourne. Dessay throws herself into the character with such aplomb it makes me wish I had been there to hear and see her performance. My only real disappointment is the lack of an aria from Dessay’s gutsy tomboy role of Marie in La fille du régiment, a role she virtually made her own. There is one of Marie’s arias on her 2004 collection recorded under Michel Plasson on Virgin Classics.
There are no issues with the consistently satisfying sound quality. In the booklet there is a first-rate essay, a general overview by Vincent Agrech. Unfortunately no sung texts are included.
This collection showcases Natalie Dessay, an accomplished performer of absolute conviction and limitless energy.
Michael Cookson
Contents
CD 1
Charles GOUNOD (1818-1893)
Roméo et Juliette
1. Act I: "Je veux vivre dans ce rêve" (Juliette) [3:36]
Jules MASSENET (1842-1912)
Manon
2. Act III: "Suis-je gentille ainsi?" (Manon, Chœur) [2:53]
3. Act III: "Obéissons quand leur voix appelle" (Manon, Chœur) [2:04]
Orchestre du Capitole de Toulouse / Michel Plasson,
rec. 2003 Halle aux Grains, Toulouse
Giacomo MEYERBEER (1791-1864)
Dinorah, originally Le pardon de Ploërmel
4. Act II: "Ombre légère qui suis mes pas" (Dinorah) [7:54]
Orchestre Philharmonique de Monte Carlo / Patrick Fournillier,
Ambroise THOMAS (1811-1896)
Hamlet
5. Act IV: Mad Scene - Scene and Aria, "A vos jeux, mes amis, permettez-moi" (Ophélie) [13:28]
Orchestre Philharmonique De Monte-Carlo / Patrick Fournillier
rec. 1996, Auditorium du Palais de Congress, Monte Carlo
Mignon
6. Act II: "Oui, pour ce soir…Je suis Titania la blonde" (Philine, Chorus) [5:59]
Les Éléments, Orchestre du Capitole de Toulouse / Michel Plasson
rec. 2003 Halle aux Grains, Toulouse
Léo DELIBES (1836-1891)
Lakmé
7. Act I: "Dôme épais, le jasmin" (Lakmé, Mallika) [4:47]
8. Act I: "Les fleurs me paraissent plus belles" (Lakmé) [4:05]
9. Act II: Air des clochettes: "Ah!... Par les dieux inspires…" "Où va la jeune hindoue" (Lakmé, Nilakantha, Chorus) [8:27]
Delphine Haidan (Mallika); José Van Dam (Nilakantha),
Choeur et Orchestre du Capitole de Toulouse / Michel Plasson
rec. 1996, Auditorium du Palais de Congress, Monte Carlo
Jacques OFFENBACH (1819-1880)
Les contes d'Hoffmann
10. Act II: La Chanson d'Olympia: "Les oiseaux dans la charmille" (Olympia) [5:27]
Orchestre Philharmonique de Monte Carlo / Patrick Fournillier
rec. 1996, Auditorium du Palais de Congress, Monte Carlo
Orphée aux enfers
11. Act II: "Ah! quelle triste destinée" (Eurydice) [2:16]
12. Act II: "Il m'a semblé sur mon épaule" (Eurydice, Jupiter) [5:02]
with Laurent Naouri (Jupiter)
Orchestre et Choeurs de l'Opéra de Lyon / Marc Minkowski,
rec. 1997, Opera de Lyon
Maurice RAVEL (1875-1937)
L'enfant et les sortilèges
13. Tableau I: Air du Feu, "Arrière! Je réchauffe les bons" (Le Feu) [2:52]
Orchestre Philharmonique De Monte-Carlo / Patrick Fournillier
rec. 1996, Auditorium du Palais de Congress, Monte Carlo
CD 2
Vincenzo BELLINI (1801-1835)
La sonnambula
1. Act I: "Compagne... teneri amici" - "Come per me sereno” (Amina, Coro) [3:12]
2. Act I: "Sovra il sen la man mi posa" (Amina, Coro) [4:36]
3. Act II: "Oh! Se una volta sola" (Amina, Rodolfo, Teresa, Elvino, Notaro, Lisa, Alessio, Coro) [5:20]
4. Act II: "Ah! No credea mirarti" (Amina, Elvino, Rodolfo, Coro) [6:43]
5. Act II: "Ah! Non giunge uman pensiero" (Amina, Rodolfo, Teresa, Elvino, Notaro, Lisa, Alessio, Coro) [3:48]
Natalie Dessay (Amina), Carlo Colombara (Rodolfo), Sara Mingardo (Teresa), Jaël Azzaretti (Lisa), Francesco Meli (Elvino), Paul Gay (Alessio) & Gordon Gietz (Un notaro)
Choeurs et Orchestre de l'Opéra National de Lyon / Evelino Pidò
rec. 2006, live during and subsequent to concerts given at Opera de Lyon
Giuseppe VERDI (1813-1901)
La traviata
6. Act I: "È strano! È strano!" - "Ah, fors'è lui" (Violetta) [6:05]
7. Act I: "Follie! Follie!" - "Sempre libera" (Violetta, Alfredo) [4:45]
Roberto Alagna (Alfredo)
Concerto Köln / Evelino Pidò,
Vincenzo BELLINI (1801-1835)
I puritani
8. Act II: "O rendetemi la speme" (Elvira, Giorgio, Riccardo) [2:08]
9. Act II: "Qui la voce sua soave" (Elvira, Giorgio, Riccardo) [9:03]
10. Act II: "Vien, diletto, è in ciel la luna" (Elvira, Riccardo, Giorgio) [5:26]
Franck Ferrari (Riccardo), Matthew Rose (Giorgio),
Concerto Köln / Evelino Pidò,
Giuseppe VERDI (1813-1901)
Rigoletto
11. Act I: "Gualtier Maldé" - "Caro nome" (Gilda, Borsa, Ceprano, Coro, Marullo) [6:44]
Roberto Alagna (Borsa), Franck Ferrari (Marullo), Matthew Rose (Ceprano),
Europäischer Kammerchor,
Concerto Köln / Evelino Pidò
Vincenzo BELLINI (1801-1835)
I Capuleti e i Montecchi
12. Act I: "Oh! Quante volte" (Giulietta) [4:01]
Concerto Köln / Evelino Pidò
Gaetano DONIZETTI (1797-1848)
Lucia di Lammermoor
13. Act III: "Il dolce suono" (Lucia) [2:40]
14. Act III: "Ardon gli incensi" (Lucia, Normanno, Raimondo, Coro) [4:52]
15. Act III: "S'avanza Enrico" (Raimondo, Enrico, Coro, Lucia) [2:57]
16. Act III: "Spargi d'amaro pianto" (Lucia, Enrico, Raimondo, Coro) [4:17]
Matthew Rose (Raimondo), Wolfgang Klose (Normanno), Franck Ferrari (Enrico)
Europäischer Kammerchor, Evelino Pidò, Concerto Köln, Natalie Dessay & Wolfgang Klose
Sacha Reckert, glass harmonica
rec. 2007, Studio, Deutschlandradio Stolberger Strasse, Cologne
CD 3
Wolfgang Amadeus MOZART (1756-1791)
Die Zauberflöte
1. Act II: "Der Hölle Rache" (Königin der Nacht) [2:57]
2. Act II: "Ach, ich fühl's" (Pamina) [3:54]
Orchestra of the Age of Enlightenment / Louis Langrée,
rec. 2000 Air Studios, London
George Frideric Handel (1685-1759)
Giulio Cesare in Egitto
3. Act II: "Se pietà di me non senti" (Cleopatra) [9:14]
4. Act III: "Piangerò la sorte mia" (Cleopatra) [6:29]
5. Act III: "Da tempeste il legno infranto" (Cleopatra) [5:54]
Le Concert d'Astrée (period-instruments) / Emmanuelle Haïm
rec. 2010, L'église Notre-Dame-du-Liban, Paris
Alcina
6. Act I: "Tornami a vagheggiar" (Morgana) [5:01]
Les Arts Florissants (period-instruments) / William Christie
rec. 1999, Live Palais Garnier, Paris
Wolfgang Amadeus MOZART (1756-1791)
Die Zauberflöte
7. Act I: "O zittre nicht, mein lieber Sohn!” (Königin der Nacht) [4:37]
Die Entführung aus dem Serail
8. Act II: "Traurigkeit ward mir zum Lose" (Konstanze) [6:41]
Orchestra of the Age of Enlightenment / Louis Langrée
rec. 2000 Air Studios, London
Richard STRAUSS (1864-1949)
Der Rosenkavalier
9. Act II: "Mir ist die Ehre widerfahren" (Octavian, Sophie) [7:04]
Ariadne auf Naxos
10. "Grossmächtige Prinzessin" - "Noch glaub'ich dem einem ganz mich gehörend" (Zerbinetta) [11:15]
Angelika Kirchschlager (Octavian)
Orchestra of the Royal Opera House, Covent Garden / Antonio Pappano
rec. 2004 Studio No. 1, Abbey Road & Lyndhurst Hall, Air Studios, London
Igor STRAVINSKY (1882-1971)
Le Rossignol (sung in Russian)
11. Act II: "Ah, joie, emplis mon coeur" (Le Rossignol, L'Empereur, Les Courtisans, Le Chambellan) [4:22]
Albert Shagidullin (L'Empereur), Laurent Naouri (Le Chambellan)
Choeurs et Orchestre de l'Opéra National de Paris / James Conlon
rec. 1999, Maison de l’Orchestre national d'Île-de-France, Alfortville, Paris
Leonard BERNSTEIN (1918-1990)
Candide
12. Act I: "Glitter and Be Gay" (Cunégonde)
London Philharmonic Orchestra / Sir Andrew Davis,
rec. 1997 Live, Glyndebourne, nr. Lewes, Sussex
Albums used for compilation of ‘Natalie Dessay – À L'Opéra’
CD 1
Airs d'Opéras Francais, 2005, Orchestre Philharmonique de Monte Carlo / Patrick Fournillier, EMI Classics
Natalie Dessay (Airs d'Opéras Francais), 2003, Orchestre du Capitole de Toulouse / Michel Plasson, Virgin Classics
Delibes - Lakmé, 1998, Choeur et Orchestre du Capitole de Toulouse / Michel Plasson, EMI Classics
CD 2
Bellini - La Sonnambula, 2008,Choeurs et Orchestre de l'Opéra National de Lyon / Evelino Pidò, Virgin Classics
Italian Opera Arias, 2007, Europäischer Kammerchor, Concerto Köln, Evelino Pidò, Erato
CD 3
Mozart Heroines, 2001 Orchestra of the Age of Enlightenment / Louis Langrée, Erato
Cleopatra - Handel Arias from Giulio Cesare, 2011 Le Concert d'Astrée / Emmanuelle Haïm, Erato / Virgin Classics
Handel - Alcina, 1999, Les Arts Florissants / William Christie, Erato
Amor, Richard Strauss Opera Scenes & Lieder, Orchestra of the Royal Opera House, Covent Garden / Antonio Pappano, Virgin Classics
Stravinsky, Le Rossignol, Renard, Choeurs et Orchestre de l'Opéra National de Paris / James Conlon, EMI Classics
Bernstein - Candide (Cunegonde), from 1997 EMI the Centenary Gala at Glyndebourne, London Philharmonic Orchestra / Sir Andrew Davis, EMI Classics
