Lambert, M: Ma bergère est tendre et fidelle

This page lists all recordings of Ma bergère est tendre et fidelle, by Michel Lambert (1610-96) on CD & download (MP3 & FLAC).

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Sous l'Empire d'Amour

Sous l'Empire d'Amour

French Songs for Mezzo-Soprano and Lute

Ballard, R:

Diverses Pieces mises sur le luth


Ma bergere non legere

Un satyre cornu

Air à boire: Qui veut chasser une migraine


Pieces de luth

Boesset, A:

Ils s'en vont ces roys de ma vie

Lambert, M:

Goûtons un doux repos

Rochers, vous êtes sourds

Ma bergère est tendre et fidelle

Charmante nuit, hâtez votre retour

Ombre de mon amant


Repands, charmante nuit

Recit de la beaute

Plainte italienne


Air à boire : Amis enivrons-nous...

Richard, F:

Ruisseau qui cours apres toi-meme

Marie-Claude Chappuis (mezzo), Luca Pianca (lute)

Featuring exquisite and rarely performed 17th-century French songs for mezzo-soprano and lute.

The first half of the seventeenth century marked the heyday of the air de cour at the French court. This was a monophonic lute-accompanied song that was generally on the subject of love. Sentimental songs of this kind soon found their way to other parts of Europe, including England, Germany and the Netherlands. With their exceptional programme, mezzo-soprano Marie-Claude Chappuis and lutenist Luca Pianca breathe new life into this courtly musical culture in all of its elegance and beauty, performing works by Jean-Baptiste Lully, Étienne Moulinié, Michel Lambert, Gabriel Bataille and others.

Recorded by famous Swiss/French sound engineer Jean-Daniel Noir in high resolution format

Released or re-released in last 6 months

Deutsche HM - 88985452312



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Michel Lambert: Airs

Michel Lambert: Airs

Hurel, C:

Prélude in A minor

Prélude in D minor

Prélude in G major

Prélude in C major

Lambert, M:

J'avois déjà passé près d'un jour sans la voir

Superbes ennemis du repos de mon ame

Ma bergère est tendre et fidelle

Je fuis tous les plaisirs

Il est vray, Philis, je vous aime

Hélas! l'heureux Tircis

Ah qui voudra desormais s'engager

Le repos, l'ombre, le silence

Que me sert-il d'estre fidelle?

J'adore une beauté si fière, si cruelle

Charmante nuit, hâtez votre retour

Que d'amants séparés languissent nuit et jour

Vous avez dit, belle indiscrete

Non, non je ne veux plus m'engager

Par mes chantes Tristes et touchants

Jugez de ma douleur en ces tristes adieux

Lassé des rigueurs de Climeine

Le rossignol que l'on admire

Si je puis bannir de mon cœur

Goûtons un doux repos

Charles Daniels (tenor), Fred Jacobs (French theorbo)

Metronome announces a new CD release of the stunning “Airs”, performed by Charles Daniels (tenor) and Fred Jacobs (French theorbo). This is a very rare release of repertoire largely ignored in the modern day partly for its highly technical ornamented style. To accompany Charles Daniels, one of the leading early music tenors in the world at the peak of his form, Fred Jacobs picks up a Michael Lowe reconstruction of a French theorbo and in an Anglo- Dutch alliance assails a style from the altesse of the French Court. An art form of dexterity, virtuosic singing and delicacy the “Airs de Cours” emerged as the key song form in the 17th century households of the French aristocracy. Michel Lambert (1610-1696) occupies a central position by virtue of the quantity (almost three hundred airs) and the quality of his output.

Metronome - METCD1092



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D'un feu secret…

D'un feu secret…

Michel Lambert: Airs de cour

Lambert, M:

Dedication to Monsieur de Niert

Le repos, l'ombre, le silence

Ombre de mon amant

Vos mépris chaque jour

Dans nos bois Tircis aperçut

Pourquoi faut il belle Inhumaine

Ma bergère est tendre et fidelle

Superbes ennemis du repos de mon ame

Que faites vous Silvie

Par mes chantes Tristes et touchants

D'un feu secret je me sens consumer

Mes yeux, que vos plaisirs

Doux charme du Printemps



Dans nos bois Silvandre s'escrie


Le jeune Iris - Menuet


Stephan van Dyck (tenor)

Musica Favola

The Airs de Cour of Michel Lambert stand out with an immediately attractive depth of expression, which is capable of raising the text to a higher level. Melody, bass line, harmony, metre and rhythm are used by Lambert skillfully and effectively to create the impression of a passionate declamation. Musica Favola gives us an insight into the emotions of the musical salons in the Age of Louis XIV.

Accent - ACC24234



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This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. (Available now to download.)

Ombre de mon amant

Ombre de mon amant

French Baroque Arias

Charpentier, M-A:

Medée: Ouverture

Princesse c'est sur vous (from Medée)

Concert pour quatre parties de violes H. 545: Prelude

Quel prix de mon amour (from Medée)

Croiras-tu mon malheur...Dieux témoins de la foy que l'ingrat m'a donnée (from Medée)

Prélude - C'en est fait, on m'y force (from Medée)

Avant que d'éclater...Malgré ta noire trahison (from Medée)

Prélude...Noires filles du Styx (from Medée)

Venez mêler à mes poison (from Medée)

Prélude...Je voy le Don fatal (from Medée)

Premier Air pour les Démons (from Medée)

Dieu du Cocyte et des Royaumes sombres (from Medée)

Entrée des Démons (from Medée)

Auprès du feu l'on fait l'amour, H. 446

Concert pour quatre parties de violes H. 545: Gigue angloise

Chanson à danser celle qui fait mon tourment, H. 450

Concert pour quatre parties de violes H. 545: Gigue francoise

Lambert, M:

Ma bergère est tendre et fidelle

Ombre de mon amant

Vos mépris chaque jour


Cruelle mère des amours (from Hippolyte et Aricie)

Gigue Air gracieux pour Zéphyre et les Grâces - Prologue (from Les fêtes d'Hébé)

Ariette de l'Amour Vole, Zéphyre! (from Les fêtes d'Hébé)

Tambourins I et II - Première Entrée La Poésie (from Les fêtes d'Hébé)

Air tendre from (Les fêtes d'Hébé)

Pour le Génie de Mars (from Les fêtes d'Hébé)

Rigaudons I et II (from Les fêtes d'Hébé)

Chaconne (from Les fêtes d'Hébé)

Quelle plainte en ces lieux m'appelle? (from Hippolyte et Aricie)

Anne Sofie von Otter (mezzo soprano)

Chœur et orchestre Les Arts Florissants, William Christie

Ombre de mon amant is Anne Sofie von Otter’s first recording of these French Baroque Arias - graceful, temperamental tunes which will delight her fans and thrill Baroque music cognoscenti

Otter’s mastery of diverse musical genres, crystalline diction and exquisite musicality empower her interpretations of French repertoire. Her celebrated Offenbach album and album of rarities of songs by Chaminade are cases in point

Anne Sofie von Otter, every bit a woman of the theatre as she is of song, embodies Charpentier's Médée and Phèdre in Rameau's Hippolyte et Aricie matchlessly, in the grand manner

The Guardian commented: “Her Médée […] was a thing of wonder. Keeping us to the right side of empathy, von Otter dragged us with her into utter monstrosity, unleashing hell with the most exquisite of pianissimos and suggesting vortices of emotion beneath the calm, controlled surface.”

“As the titular anti-heroine of Charpentier's Médée, she plumbs the depths of villainous tragedy with an energetic relish. But it's the pastoral airs by Michel Lambert which provide the greatest pleasure” The Independent, 15th January 2010 ****

“Von Otter has spoken of her love affair with the French Baroque and it is something that she avows in her singing, which can range from anger to the tenderest pensiveness, from lofty seriousness to whimsicality. This a captivating programme, performed with finesse and radiance.” The Telegraph, 5th February 2010 *****

“For readers who have yet to be seduced by French Baroque music, Anne Sofie von Otter's recital with Les Arts Florissants and William Christie may be the start of a grand passion. Charpentier and Rameau's tragic heroines require a depth of experience and complexity of expression beyond young singers... Impeccably accompanied this is a tour de force from opera's Meryl Streep.” BBC Music Magazine, March 2010 ****

“Von Otter sounds utterly wretched in Medea's lament for her lost love; then she intensifies her tone as she summons up demons and monsters...[she] conveys Phaedra's various emotions with consummate ease.” Gramophone Magazine, July 2010

GGramophone Awards 2010

Finalist - Recital

DG Archiv - 4778610

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