Poulenc: Hotel

“Seven songs by Poulenc, in pungent and marvellously characterised performances, form the highlight of this 1967 recital of Crespin in her prime. Her Wolf and Schumann are also irresistable.” BBC Music Magazine, June 2012 ****

“It is difficult, indeed I find it impossible, to think of any soprano capable of singing Brünnhilde, as Régine Crespin has done, who is also capable of making a success of such a varied programme as this recital offers, but this she most certainly has achieved from start to finish. […] She has in John Wustman a pianist truly worthy of her, sensitive to every mood and nuance. […] I can give no higher praise to Crespin's singing of Debussy's Chansons de Bililis than to say it does not suffer from comparison with Maggie Teyte's. […]The balance between voice and piano is very good, and so here is everything for our delight. This is, indeed, one of the finest song recitals of recent times and I most warmly and enthusiastically recommend it” Gramophone Magazine

“The opening Schubert group demonstrates the baritone's natural and unaffected delivery - an ability to hold words and notes together in one single gesture - and his finely tuned vocalism, founded on a lightly rounded but always expressive tone. He sounds equally at ease in the French half of the programme. ...'En sourdine' flows beautifully...and the light humour of 'Le Papillon et la Fleur', Fauré's Op. 1 No. 1, is flawlessly conveyed in Martineau's enchantingly lithe pianism.” BBC Music Magazine, December 2009

“Hugo Wolf is at his most welcoming in "Der Knabe und das Immelein" and Keenlyside is at his most responsive in "An die Geliebte". Keenlyside is at his best in "Notre amour" - and very French. In… Malcolm Martineau: he has a collaborator in whom the life of texts as well as the music is experienced and communicated unfailingly.” Gramophone Magazine, November 2009

“you’re being invited to step into a more gently nuanced and delicately observed world, where the expressive weight of each phrase is being judged to perfection, with not a gram of emotional excess...this is such a successful document of the occasion that you might honestly end up feeling that you were [there]… and can be again, and again.” Andrew McGregor, bbc.co.uk, 22nd December 2009

“Sumptuous of tone, supremely sensitive, Crespin was born to illuminate the art of French song. Whether floating the seductive allure of Ravel or revelling in the wit of Poulenc these recordings were and remain classics.” BBC Music Magazine, November 2006 *****

“Ravel's magically sensuous writing finds the ideal interpreter in Regine Crespin...The sheer richness of tone of the singer's tone does not prevent her from bringing out the delicate languor required by an exquisite song like The enchanted flute...This is ravishing...This CD is one of the great glories of recorded music.” Penguin Guide, 2011 edition

“Interpretation of Poulenc's songs never stands still. But this recording reminds us of the impetus these artists gave to this repertoire, both in sound and imagination.” BBC Music Magazine, November 2011 *****

“This record will enchant you. Best of the Month” Hi-Fi News

Ravishing singing and sultry colours make this coupling irresistable: you may favour Janet Baker's very different approach but I've adored this recording for 30 years - James Jolly, Gramophone 1000th issue

“With recent recordings by Bernarda Fink, Susan Graham, Felicity Lott, there has been no shortage of Shéhérazades for our 21st century. But back in 1963 Régine Crespine recorded a performance that recreated Ravel's score in unsurpassed truthfulness of letter and spirit.” BBC Music Magazine, November 2007

“Scandalously available only as a download in many countries, Crespin's Nuits dété has always been the interpretation by which others have been assessed and, listening to it again, there's no reason to challenge the verdict.
Sultry, langourous yet sung with a richness of tone, this is a classic version this ravishing work. Ansermet accompanies exquisitely.” Gramophone Classical Music Guide, 2010