Debussy: Ariettes Oubliées (6)

Two of Britain’s leading exponents of French song, the acclaimed sopranos Lorna Anderson and Lisa Milne, join Malcolm Martineau for the second volume of Hyperion’s overview of Debussy’s haunting, mercurial songs. The French composer’s output in this genre extended throughout his life and he was always inspired by poetry—from his first adolescent attempts to set Paul Verlaine’s Fêtes galantes (which he later revised) to the Trois Poèmes de Mallarmé, written five years before his death. All inhabit a universe of shifting colours and impressions, from the sensual, perfumed ‘flutes and flesh’ of the Chansons de Bilitis to the Proses lyriques, which foreshadow the dreamlike atmosphere of Pelléas et Mélisande.

Barbara Hendricks' voice — particularly suited to Mozart, Debussy, Fauré, and the lighter roles of Puccini and Richard Strauss — has a warm, crystalline quality that has kept her in demand on stage and in recording studios. Her performances have embraced everything from contemporary music to popular standards, including songs of Duke Ellington and several world premieres. She has been careful with her choices of repertoire, avoiding roles that would overextend her essentially lyric instrument. Aside from music, she is deeply committed to humanitarian work, with a particular concern for refugees and those in war or poverty zones. She sang a concert in Sarajevo in 1993 while the city was being shelled, in which she had to wear a bulletproof vest and helmet.

Hendricks has appeared on nearly 80 recordings spread over a variety of major labels. Her first of many recordings for EMI was in the small part of the Celestial Voice in Don Carlo in 1978. For nearly twenty years her solo recordings have been made exclusively for EMI Classics.

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 program of French song marks the solo debut recording of the brilliant young soprano Susanna Phillips. Ms. Phillips was the recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award, and appeared at the Met last season as Pamina in Julie Taymor’s production of The Magic Flute, and as Musetta in La bohème.

Recorded in 1950