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In the line of a rich and eclectic discography, Marie-Nicole Lemieux’s new recital, recorded with leading North American classical and baroque orchestra Les Violons du Roy, is devoted to the first decades of classical opera era. As always, Marie-Nicole Lemieux has combined hits of the repertoire (Mozart’s Le nozze di Figaro) with much less renowned pieces to which she gives new light, such as Graun’s 'Montezuma', Gluck’s 'Iphigénie en Aulide' or young Mozart’s 'Mitridate'.
The warm and sensitive voice of Marie-Nicole Lemieux as well as the very precise and specific rhythm provided by Bernard Labadie’s orchestra perfectly combine to draw a complete range of musical colours.
Wolfgang Amadeus Mozart: Mitridate, re di Ponto, K. 87
Mitridate, re di Ponto, K. 87, Act I: Aria: Venga pur, Minacci e frema
Franz Joseph Haydn: L'isola disabitata, Hob.Ia:13
L'isola disabitata, Hob.Ia:13, Part I: Aria: Se non piange un infelice
Wolfgang Amadeus Mozart: Ombra felice! … Io ti lascio, K. 255
Ombra felice! … Io ti lascio, K. 255
Christoph Willibald Gluck: Iphigenie en Aulide
Iphigenie en Aulide, Act III: Jupiter, lance ta soudre!
Wolfgang Amadeus Mozart: Mitridate, re di Ponto, K. 87: Overture
Mitridate, re di Ponto, K. 87: Overture
Carl Heinrich Graun: Montezuma
Montezuma, Act II: Aria: Del mio destin tiranno tutto l'orrore
Wolfgang Amadeus Mozart: La Betulia liberata, K. 118
La Betulia liberata, K. 118, Part I: Parto inerme, e non pavento
Christoph Willibald Gluck: Orfeo ed Euridice
Orfeo ed Euridice, Act III: Aria: Che faro senza Euridice?
Wolfgang Amadeus Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
Le nozze di Figaro (The Marriage of Figaro), K. 492, Act II: Arietta: Voi, che sapete che cosa e amor
Wolfgang Amadeus Mozart: La clemenza di Tito, K. 621
La clemenza di Tito, K. 621, Act II: Rondo: Deh per questo istante solo
Franz Joseph Haydn: Il ritorno di Tobia (The Return of Tobias), Hob.XXI:1
Il ritorno di Tobia (The Return of Tobias), Hob.XXI:1, Part I: Aria: Sudo il guerriero
“You might think that a band called Les Violons du Roy would feature period instruments: it doesn't, but the playing is lean and muscular, with plenty of light and air...Lemieux's spine-tingling account of Clytemnestra's air in Iphigenie en Aulide is complemented by Bernard Labadie's attention to detail”
“The Canadian contralto's depth is genuine, even if there's a mezzo quality higher up. Hers may not be the richest or most rounded tone around, but she delivers everything assigned to her with a keen dramatic overview...Her ability to extract meaning from text and notes is impressive throughout.”
“her bottom range shows a strength worthy of Marilyn Horne...[in the Mitridate aria] Lemieux is a veritable spitfire as she spews out the young man's venom...Lemieux sings [Che faro?] with rich tone, clear focus and subtle hints in her colouring...This CD is another desirable addition to Lemieux's growing discography, with so much in which to revel.”
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