Offenbach - Colorature - Jodie Devos, Munchner Rundfunkorchester, Laurent Campellone - 2019 (FLAC, 24BIT – 96KHZ)

Offenbach – Colorature – Jodie Devos, Munchner Rundfunkorchester, Laurent Campellone – 2019 (FLAC, 24BIT – 96KHZ)

Composer: Jacques Offenbach
Performer: Jodie Devos – soprano
Orchestra: Münchner Rundfunkorchester
Conductor: Laurent Campellone
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 96kHz
Number of channels: 2.0
Label: Alpha
Size: 1.02 GB
Recovery: +3%
Scan: yes (PDF)
Server: rapidgator

Offenbach – Colorature

Jacques Offenbach (1819 – 1880)

Boule de neige
01. Acte I, Scene 2 Couplet de la dompteuse “Je suis du pays vermeil”

Vert-Vert
02. Acte II, Scenes 7B & C: Air de la Corilla “Les plus beaux vers sont toujours fades”

Orphee aux Enfers
03. Invocation a la mort: “La mort m’apparait souriante”

Un mari a la porte
04. Valse tyrolienne de Rosita: “J’entends ma belle”

Fantasio
05. Air d’Elsbeth: “Cachons l’ennui de mon ame”

Les Bavards
06. Acte I, Scene 3: Air d’Ines “Ce sont detranges personnages”

Mesdames de la halle
07. Rondo de Ciboulette: “Quel bruit et quel tapage”

Le Roi Carotte
08. Romance des Fleurs: “Le voila… c’est bien lui”

Les bergers
09. Ouverture

Fantasio
10. Romance d’Elsbeth: “Voila toute la ville en fete”

Les Contes d’Hoffmann
11. Couplets d’Olympia: “Les oiseaux dans la charmille”

Robinson Crusoe
12. Acte II, 2eme tableau, Scene 14C: Valse d’Edwige “Conduisez-moi vers celui que j’adore”

Boule de Neige
13. Acte I, Scene 3: Romance d’Olga “Souvenance”

Boule de Neige
14. Acte II, Scene 14: Chanson d’Olga “Allons, couchez”

Les Contes d’Hoffmann
15. Prelude & Barcarolle: “Belle nuit, O nuit d’amour”

Le voyage dans la lune
16. Acte III, Scene 21: Ariette de Fantasia “Je suis nerveuse”

Soprano Jodie Devos, who has signed with Alpha for several recordings, here pays homage to Offenbach, whose bicentenary of his birth is celebrated in 2019. This programme shows Offenbach’s fascination with the vocal fireworks of coloratura divas. This kind of ‘lyric coloratura’ or ‘soprano leggero’ voice runs like a thread through most of the composer’s oeuvre, from his first pieces for two or three soloists to those grand frescoes of his maturity, La Vie parisienne, Robinson Crusoé, and Orphée aux Enfers. The coloratura soprano also adorns Offenbach’s less frivolous operettas (such as Fantasio), as well as his only serious opera – Les Contes d’Hoffmann – in which the role of the doll (with only one aria, but what an aria!) is among the most famous in the entire French repertoire. Concocted collaboratively with Alexandre Dratwicki and the Palazzetto Bru Zane, this recorded programme – tailor-made for Jodie Devos – presents innumerable rarities from Mesdames de la Halle, Boule-de-Neige,Un mari à la porte, Le Roi Carotte, Le Voyage dans la lune, and Vert-Vert. In the famous Barcarolle “Belle nuit, Ô nuit d’amour”, she is joined by up-and-coming mezzo-soprano Adèle Charvet.

The elegant Jodie Devos puts her talents to work in service of a fairly unknown known side of Offenbach, taking on several somewhat-forgotten pieces which call for very specific voices, known in Offenbach’s day by names such as “chanteuse d’agilité”, “chanteuse à roulade” or “première chanteuse légère”. Of course, everyone knows the tune of the doll Olympia from Tales of Hoffmann, or the telling of the death of Eurydice in Orpheus in the Underworld, but the substantial repertoire of the composer’s smaller pieces (which he generally referred to as “operettas” to distinguish them from his larger works, his famous opéras bouffe) contains a number of virtuoso arias for coloratura soprano. In them, we hear the vocal imitation of the jeu perlé piano technique or of Paganini’s “flying staccato”, in which unstinting bravura hides the real difficulty behind something apparently easy. But the difference from many bel canto composers, who merely show off vocals and melody, is that Offenbach knows how to charge these things with emotion, with textual significance, with personality, and with contrasts: simple mechanics never take precedence over diversity. This record allows us to discover a neat little collection of sadly little-known works which are well overdue a return to the French stage. © SM/Qobuz

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