Victoria de los Angeles

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Victoria de los Angeles

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Victoria de los Angeles


Les Nuits d'été, Op. 7


Nachtigall, Op. 97 No. 1

Meine Liebe ist grün, Op. 63 No. 5


Bonjour, Suzon!


Judas Maccabaeus: So shall the lute and harp awake

Scarlatti, A:

Le violette


Mein! (No. 11 from Die schöne Müllerin, D795)


Widmung, Op. 25 No. 1





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Alessandro Scarlatti: Il Pirro e Demetrio

Il Pirro e Demetrio: Le violette

George Frideric Handel: Judas Maccabaeus, HWV 63

Judas Maccabaeus, HWV 63, Part III: So shall the lute and harp

Franz Schubert: Die schone Mullerin, Op. 25, D. 795

Die schone Mullerin, Op. 25, D. 795: No. 11. Mein!

Robert Schumann: Myrthen, Op. 25 (text by F. Ruckert)

Myrthen, Op. 25: No. 1. Widmung

Johannes Brahms: 6 Lieder, Op. 97

6 Lieder, Op. 97: No. 1. Nachtigall

Felix Schumann: 9 Lieder und Gesange, Op. 63 (text by F. Schumann)

9 Lieder und Gesange, Op. 63: No. 5. Meine Liebe ist grun

Igor Stravinsky: Pastorale


Maurice Ravel: Vocalise-etude en forme de habanera

Vocalise-etude en forme de habanera

Henri Duparc: L'Invitation au voyage

L'Invitation au voyage

Ernesto Halffter: 2 Canciones de Rafael Alberti

No. 1. La corza blanca

No. 2. La nina que se va al mar

Sinesio Delgado: Canciones epigramaticas

No. 12. La presumida

No. 9. El retrato de Isabela

Joaquin Nin: 20 Cantos populares espanoles

No. 4. Montanesa

No. 15. Pano murciano

Fernando Obradors: Canciones Clasicas Espanolas, Vol. 1

Canciones Clasicas Espanolas, Vol. 1: No. 6. Chiquitita la novia

Leo Delibes: Bonjour, Suzon!

Bonjour, Suzon

Joaquin Valverde: Clavelitos


Hector Berlioz: Les nuits d'ete, Op. 7

No. 1. Villanelle

No. 2. Le Spectre de la rose

No. 6. L'Ile inconnue

Gramophone Classical Music Guide


“When Victoria de los Angeles appeared at the Edinburgh Festival in 1957, she was in her prime, the voice as supple and sensitive as it was beautiful. Everything she tackled seemed to be touched by the magic of her attractive presence and glorious singing.
Good as her account of Schumann's Widmung may be, it's when she gets to Brahms, perhaps her favourite composer in this genre, that she's wholly at home, the wistful sense of pain in Nachtigall caught to perfection. In the wordless pieces by Stravinsky and Ravel she floats that warm yet ethereal tone of hers with consummate ease, and the long–breathed phrasing and excellent French in Duparc's mélodie are enhanced by this artist's innate skill in word–painting. For all that, audiences were always impatient for her to get to the Spanish part of her programme, for in this field she was unsurpassed as a singer and interpreter.
Many of these songs were also recorded by her in the studio, but the live occasion gives these performances an extra frisson. The encores are even better. An account of Clavelitos is a superior reading even to those famous ones available elsewhere.
That's complemented by a delightfully insouciant account of the Delibes song that she didn't attempt on any other recorded occasion.
Gerald Moore, as was his wont, manages to change idioms with his familiar virtuosity. As a whole, this is an invaluable addition to the singer's extensive discography.”

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