Canteloube: Brezairola

“With Susan Graham in radiant form and Malcolm Martineau not just an accompanist but an active partner in the project, "Un frisson français" offers a unique survey of French mélodie from the mid-19th century to the mid-20th: 22 songs… one composer. A rich collection in excellent sound: no one is likely to be disappointed.” Gramophone Magazine, November 2008

“The familiar here appears in unusual contexts and alongside a scattering of rarities. The performers are at one in their fluency, delicate rubato and avoidance of Anglo-Saxon archness, within an acoustic that combines intimacy and atmosphere.” BBC Music Magazine, November 2008 *****

“With Susan Graham in radiant form and Malcolm Martineau not just an accompanist but an active partner in the project, 'Un frisson français' offers a unique survey of French mélodie from the mid–19th century to the mid–20th: 22 songs…one per composer.
Martineau describes the plan as a 'tasting menu', starting with Gounod, to whom he ascribes the launching of the genre of French mélodie. Even Ravel said that Gounod was 'the true founder of the mélodie in France' and his song 'Au rossignol' ('To the Nightingale') is included in the first of five sections – 'founding fathers', including Bizet, Franck, Lalo and Saint–Saëns. It is fascinating to hear the original version with piano of 'Danse macabre', Graham marvellously biting.
Martineau describes the sequence as 'loosely chronological', and one beauty of the scheme is that rare and forgotten composers are included, such as Paladilhe and Bachelet who are represented in late–Romantic mélodies with night and nature dominating themes. The third group – including Ravel and Debussy – takes us into the 20th century. Especially fascinating is André Caplet's setting of 'Le corbeau et le renard' ('The Crow and the Fox') with elaborate piano accompaniment.
Only rare songs are chosen for each composer and perhaps Martineau chose some of them for the colourful accompaniments, as in Chausson's fluttering accompaniment for his picture of the butterfly in 'Le papillon'. The fourth section has childhood as a common theme and the climactic section has only one song, much the longest, Poulenc's 'La dame de Monte-Carlo', to words by Jean Cocteau. It is like an encapsulated version of the operatic monodrama La voix humaine with the singer on the verge of a breakdown.
A rich collection in excellent sound: no one is likely to be disappointed.” Gramophone Classical Music Guide, 2010

“The bulk of the programme features sweet-toothed orchestral arrangements, scooped notes and other pop inflections, though she’s mostly eloquent and the voice’s bronzed beauty is unique.” The Times, 8th February 2013 ***