Hahn, R: L'heure exquise

A delightful programme of French and Spanish song explores the theme of love found, enjoyed and lost, from the dropped hints of Fauré to the fiery folk passion of Turina, Obradors and de Falla. The gentle charm of Reynaldo Hahn and impassioned fervour of Massenet’s Manon are equally captured by American soprano Ailyn Pérez, who has bewitched audiences on both sides of the Atlantic in opera and song.

“Poème d’un jour” explores the musical traditions of France and Spain through composers including Hahn, Massenet, Faure
, Obradors, Turina and de Falla.

Cathy Berberian, avant-garde cult diva of the 70s, leading a unique and highly entertaining programme of vocal and instrumental Belle Epoque gems from David Popper, Gioachino Rossini to Anton Rubinstein, Gabriel Fauré and Reynaldo Hahn – served with ironic delicacy and assisted by Bruno Canino (piano), Ludwig Boettcher (cello) and Karlheinz Zöller (flute). A true Electrola Collection find, never released on CD before!

Unsurprisingly, it is in the music of the Baroque era – the heyday of the castrato – that French countertenor Philippe Jaroussky has captured the attention of music-lovers lovers around the world. The ethereal, but sensuous beauty of his voice, his virtuosity and his sense of style have brought him critical praise, a number of major awards – including, in 2008, Germany’s prestigious Echo-Klassik prize for Male Singer of the Year, honouring his Virgin Classics album, Carestini: The Story of a Castrato – and impressive sales: more than 120,000 copies of his Vivaldi album Heroes and 90,000 of the Carestini release.

Jaroussky enters new territory with this programme of French songs from the late 19th and early 20th centuries – well over a hundred years after the end of the Baroque era. Taking its name, Opium, from a song by Saint-Saëns, it evokes the voluptuous, sometimes decadent spirit of the Belle Époque, the era of transition between Romanticism and Modernism. The programme includes a number of rarities by composers such as Dukas, Caplet, and Chaminade, as well as better-known numbers by figures like Fauré, Chausson and Hahn.

“Many people will probably wonder why a counter tenor should sing these songs,” says Jaroussky, “but if you think about it, the countertenor voice as such has no repertoire of its own, except the modern music written specifically for it. For the most part we sing music written for castratos who – as we know – had very different voices from ours. So why not venture into other musical worlds if we feel they are suited to our voices? … There has been David Daniels in Schubert, Max Emmanuel Cencic in Rossini, and even Andreas Scholl and Gérard Lesne in pop music.

“I’ve always felt a special affinity for French song, which was an area of focus in the early days of my studies with my teacher, Nicole Fallien. It was Renaud Capuçon -- whom I want to thank, along with Gautier Capuçon and Emmanuel Pahud for his valuable contribution to this disc -- who first had the idea of inviting me to sing Hahn, Chausson, Fauré in a recital. It was then that I met the pianist Jérôme Ducros, and we decided to work further on this rich and well-stocked repertoire, which contains some real undiscovered treasures. There is no theme to this album, but I wanted to record songs which have captured my heart and which suit my voice. Perhaps I can show them in a new light too.”

French song demands an acute sense of language and style, and today there are relatively few singers --- even native Francophones – who succeed in capturing its elusive magic. “I’ve decided to pronounce the texts in a way that is as close as possible to the spoken word – I don’t roll the ‘r’, for example,” continues Jaroussky. “The poetry should come to life without the imposition of too much interpretation or emotional contrivance. I’ve tried to approach it with humility.”

"Philippe Jaroussky is one of the best countertenors around. His voice is mellow, evenly toned, wide-ranging and largely free from intrusive mannerism and vocal strain” BBC Music Magazine, February 2007

Following his recovery from leukaemia in 1988 the great Spanish tenor José Carreras performed a series of comeback concerts, and this recording presents a collection of excerpts from these very special events. It includes not only operatic arias but also art-songs and items from Zarzuela, revealing the whole broad range of his repertoire.

Spanish tenor José Carreras unquestionably numbers among the most important tenors of the second half of the twentieth century, yet in the consciousness of many people his biography is not only marked by his outstanding artistic achievements. The apparent tragic end of the career of the then 41-year-old singer as a result of a life-threatening illness, his triumph over death, and the entirely unexpected re-commencement of his career as singer have become just as much a part of public memory as the appearances with his tenor colleagues Domingo and Pavarotti who, as ‘The Three Tenors’, delighted an audience of millions throughout the world. José Carerras went on to establish a foundation that has collected millions of euros used to alleviate the suffering of the sick and provide scientists with financial support for their research into leukaemia.

Few instruments are as adept as the clarinet at imitating the sound of the human voice in its whole range of vocal expression. This has been especially true since the Romantic period: time and again composers have had recourse to the clarinet whenever they wanted to evoke an emotional – but unsentimental – mood or to create the sort of atmosphere of dreamy otherworldliness that is associated with the hours of twilight: here one thinks especially of Carl Maria von Weber in Germany and of Berlioz in France. Nicola Jürgensen goes a step further – “into the night” – in her present programme, Dans la nuit, which takes its title from a song by Reynaldo Hahn. The clarinettist, who has appeared as a soloist with many leading European orchestras, while also making a name for herself as a chamber recitalist at international music festivals such as Risør and Lockenhaus, has adapted these 19th- and early 20th-century French works for her instrument and recorded them with the pianist Matthias Kirschnereit. Well-known and lesser-known songs by Berlioz, Hahn, Fauré and Poulenc feature here alongside more dramatic and virtuoso pieces. The result of this unexpected instrumental union is a living impression of the Paris salons of the belle époque, captured in stylish interpretations. Who would have thought that Saint-Saëns’s 'Introduction et Rondo capriccioso' could sound as brilliantly effective on the clarinet as it does in its original version for the violin? Nicola Jürgensen has garnered equally enthusiastic reviews for her work in the world of the modern music theatre – she has already been heard onstage as Eva in Stockhausen’s 'Michaels Reise um die Erde' at the Vienna Festival and in other leading centres of music. François Borne’s 'Fantaisie brillante on themes from Bizet’s Carmen' is a cleverly compiled potpourri that maintains the drama of its source and holds its own even when compared with the original version for flute, at least as interpreted here by Nicola Jürgensen. A further operatic melody originally scored for the violin is the famous “Méditation” from Massenet’s opera 'Thaïs', which rounds off an outstanding release on a note of mellifluous inwardness.

In this recital, Sophie Karthäuser and Cédric Tiberghien give a loving and instinctive survey of works by the many composers who became besotted with the poetry of Verlaine. Sophie Karthauser was the winner of the Wigmore Song Competition in 2003 and regularly sings in the top opera houses of the world.

This CD features a particular type of French song. All the "romances" were written after 1830 and include songs by Gounod, Bizet, Massenet, Fauré, Hahn and Poulenc. The Belgian bass-baritone Werner van Mechelen is a highly versatile artist and is particularly drawn to the lied genre.

Measha Brueggergosman and pianist Justus Zeyen interpret well- and little-known songs of Duparc, de Falla, Hahn, Liszt, Schubert, and others chosen for their soulful depth, variety, and beauty.

Measha Brueggergosman about Night and Dreams: “We wanted something that was languid, sexy, romantic, different. Also, it’s repertoire that gives me the chance to really let go.”

She projects drama, passion, comedy, or charm as needed in any of the languages she speaks, essential for a Lieder and chanson singer who must make words come alive with meaning, color, and esprit as well as vocal quality

The fervent response to her “triumphant DG debut recital” (Gramophone) makes this follow-up album a must for fans of this rising star.