Satie: Daphénéo

“Classic recordings preserving a famous artistic partnership” BBC Music Magazine, September 2010 ****

“It's carefully planned and never dull, largely thanks to Tharaud's exquisite keyboard shading.” The Guardian, 6th February 2009 ****

“The popular first Gymnopédie and Gnossienne are here, beautifully played by Tharaud. Real interest lies in the second disc, with a mix of duets for piano with violin, voice, trumpet, plus veteran chanteuse Juliette, in "Chez le docteur", celebrating intestines, liver, kidney and spleen in sardonic chanson. All highly visceral.” The Observer, 1st March 2009

“Few collections of Satie's music have captured this much misunderstood, multi-faceted composer remotely as well as this marvellous two-disc set from Alexandre Tharaud. His approach is more intelligent than the usual anodyne offerings… Tharaud is able to make the leaps from visionary to flippant, sublimely beautiful to downright silly with ease, but it is his willingness to take risks that really impresses… it is hard to think of a better introduction to Satie's music than this truly enjoyable collection.” BBC Music Magazine

“Few collections of Satie's music have captured this much misunderstood, multi-faceted composer remotely as well as this marvellous two-disc set from Alexandre Tharaud. Tharaud is able to make the leaps from visionary to flippant, sublimely beautiful to downright silly with ease and his willingness to take risks really impresses.” BBC Music Magazine, April 2009 *****

“The voice is a full soprano, well focused, with a "snarling" edge used to great effect in the Bolcom songs. In the Schoenberg she employs a more obviously operatic style, with a gentle vibrato. …there is an enormous amount to enjoy here from a hugely talented singer.” Gramophone Magazine, April 2008

“A triumphant DG debut recital for the Yellow Label’s new signing. Measha Brueggergosman (remember that name – no easy feat, granted) is expressive and at times deliciously wicked. The voice isn’t entirely even yet, but it’s already a gorgeous, fascinating sound.” Gramophone Magazine

“William Bolcom's Cabaret Songs (there are 28 of them in all) were composed for his wife Joan Morris, who recorded them with the composer at the piano in the 1970s. For Measha Brueggergosman's first solo recording, Bolcom has orchestrated seven of them into a nifty little song–cycle. The mood is generally slightly sinister, from the opening 'Surprise!' ('When she tried to drink iodine from a paper cup'), through a worrying tale of crime and punishment, 'Amor!', to the best–known of the songs, the Weill–style 'Black Max'. This bears the subtitle 'As told by the de Kooning boys', and all the verses by Bolcom's long–time lyricist and librettist Arnold Weinstein have overtones of surrealism and world–weary irony, suitable for one who lived out his days in that seediest of grand hotels, The Chelsea.
It's a brave man who sets out to orchestrate Schoenberg, and Patrick Davin's reworkings of the Brettl-Lieder inevitably have a softening effect (just one, 'Der Nachtwandler', has Schoenberg's own orchestration). Brueggergosman deals with them in a straightforward way, without trying to overload them with charm or significance.
The voice is a full soprano, well focused, with a 'snarling' edge used to great effect in the Bolcom songs. In the Schoenberg she employs a more obviously operatic style, with a gentle vibrato. The BBC Symphony Orchestra under David Robertson play with considerable spirit, above all in Bolcom's really gorgeous orchestration of Satie's 'Je te veux'. This and the other chansons composed for Paulette Darty ('Tendrement' and 'La diva de l'empire') go well, but 'L'omnibus automobile' is taken too fast, so that much of the crazy humour of Vincent Hyspa's poem is lost. No matter, there is an enormous amount to enjoy here from a hugely talented singer.” Gramophone Classical Music Guide, 2010