Nathalie Stutzmann

Biography

Born: May 6, 1965; Paris, France  
Nathalie Stutzmann is a French contralto, especially noted as a recital and concert performer, but also seen on European opera stages. She sings a wide variety of music, including art songs of the nineteenth and twentieth centuries, Baroque opera and oratorio, and the symphonies and song cycles of Mahler. Her particular interest in German lieder is unusual for a French singer, but not surprising, since she studied with two of the finest singers Read more of that repertory in recent memory -- Hans Hotter and Christa Ludwig. Her singing is dark-hued and unmannered.

Stutzmann's musical education included not only singing, but also piano and bassoon studies; she is an accomplished chamber musician on both instruments. After vocal studies at the Ecole Nationale in Paris, she won the 1983 Brussels vocal competition, and made her concert debut in 1985, singing Bach's Magnificat in Paris. In 1986 she performed and recorded Magnard's opera Guercoeur and received positive reviews for performances of Purcell's Dido and Aeneas at the Opéra de Paris. A 1989 recording of Handel's Amadigi (with Marc Minkowski) cemented her reputation, and since that time she has enjoyed an unbroken schedule of performances and recordings. Other notable operatic roles include Gluck's Orfeo, Handel's Giulio Cesare, and Geneviève in Debussy's Pelléas et Mélisande. Her oratorio repertory includes all the major works of Bach, Handel, and Vivaldi. Her discography includes over 60 titles, primarily for RCA Victor, but also for Erato, EMI, Philips, Harmonia Mundi, and Sony. Her volumes of Schumann lieder, and mélodies by Chausson, Fauré, and Poulenc are representative of her best recital work. Read less

Biography

Born: May 6, 1965; Paris, France  
Nathalie Stutzmann is a French contralto, especially noted as a recital and concert performer, but also seen on European opera stages. She sings a wide variety of music, including art songs of the nineteenth and twentieth centuries, Baroque opera and oratorio, and the symphonies and song cycles of Mahler. Her particular interest in German lieder is unusual for a French singer, but not surprising, since she studied with two of the finest singers Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Christus Op.97 : Act 1 "Da Jesus geboren ward zu Bethlehem im jüdischen Lande" [Soprano] "Wo ist der neugeborne König der Juden?" [Tenor, Basses]
Christus Op.97 : Act 1 "Es wird ein Stern aus Jacob aufgehn" [Chorus]
Christus Op.97 : Act 2 "Und der ganze haufe stand auf" [Tenor, Chorus]
Christus Op.97 : Act 2 "Er nimmt auf seinen Rücken"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: I. "Wie der Hirsch schreit"
Psalm No.42 'Wie der Hirsch schreit', Op. 42 : II. "Meine Seele dürstet nach Gott"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: III. "Meine Tränen sind meine Speise"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: IV. "Denn ich wollte gern hingehen"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: V. "Was betrübst du dich, meine Seele"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: VI. "Mein Gott, betrübt ist meine Seele"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: VII. "Der Herr hat des Tages verheissen seine Güte"
Psalm No. 42 'Wie der Hirsch schreit', Op. 42: VIII. "Was betrübst du dich, meine Seele"
Psalm No. 95 'Kommt, lasst uns anbeten', Op. 46: I. "Kommt, lasst uns anbeten"
Psalm No. 95 'Kommt, lasst uns anbeten', Op. 46: II. "Kommt herzu, lasst uns dem Herrn frohlocken"
Psalm No. 95 'Kommt, lasst uns anbeten', Op. 46: III. "Denn in seiner Hand"
Psalm No. 95 'Kommt, lasst uns anbeten', Op. 46: IV. "Denn sein ist das Meer"
Psalm No. 95 'Kommt, lasst uns anbeten', Op. 46: V. "Heute, so ihr seine Stimme höret"
Lass', o Herr, mich Hülfe finden Op.96 : II "Deines Kind's Gebet erhöre"
Lass', o Herr, mich Hülfe finden Op.96 : II "Deines Kind's Gebet erhöre"
Lass', o Herr, mich Hülfe finden Op.96 : III "Herr, wir trau'n auf deine Güte"
Lass', o Herr, mich Hülfe finden Op.96 : IV "Lasst sein heilig Lob uns singen"
Psalm No.98 Singet dem Herrn ein neues Lied Op.91 : I "Singet dem Herrn ein neues Lied"
Psalm No.98 Singet dem Herrn ein neues Lied Op.91 : II "Aller Welt Enden she'n"
Psalm No.98 Singet dem Herrn ein neues Lied Op.91 : III "Vor dem Herrn"
L'Enfant et les sortilèges: Introduction
L'Enfant et les sortilèges: Votre serviteur humble, Bergère
L'Enfant et les sortilèges: How's your mug
L'Enfant et les sortilèges: Oui, c'est Elle, ta Princess enchantée
L'Enfant et les sortilèges: Deux robinets coulent dans un résevoir
L'Enfant et les sortilèges: Ah! Quelle joie de te retrouver, Jardin!
L'Enfant et les sortilèges: Sauve-toi, sotte! Et la cage? La cage?
L'Enfant et les sortilèges: Ah! C'est l'Enfant au couteau!
Kyrie eleison (Chorus)
Christe eleison (Soprano I and II)
Kyrie eleison (Chorus)
Gloria in excelsis Deo (Chorus)
Et in terra pax (Chorus)
Laudamus te (Soprano II)
Gratias agimus tibi (Chorus)
Domine Deus (Soprano I, Tenor)
Qui tollis peccata mundi (Chorus)
Qui sedes ad dextram Patris (Alto)
Quoniam tu solus Sanctus (Bass)
Cum Sancto Spiritu (Chorus)
Credo in unum deum (Chorus)
Credo in unum Deum, Patrem omnipotentem (Chorus)
Et in unum Dominum (Soprano I, Alto)
Et incarnatus est (Chorus)
Crucifixus (Chorus)
Et resurrexit (Chorus)
Et in Spiritum Sanctum Dominum (Bass)
Confiteor unum baptisma (Chorus)
Et expecto resurrectionem mortuorum (Chorus)
Sanctus (Chorus)
Osanna (Chorus)
Benedictus (Tenor)
Osanna (Chorus)
Agnus Dei (Alto)
Dona nobis pacem (Chorus)
Act I Scene 1: Recitative: Fausta per me risplende (Eudossa, Leontino)
Act I Scene 1: Aria: Ti stringo in quest'amplesso (Leontino)
Act I Scene 2: Recitative: Lasciami, o i Varane (Eudossa, Pulcheria, Marziano)
Act I Scene 2: Aria: Della rubella (Eudossa)
Act I Scene 3: Recitative: Marzian si pensoso? (Pulcheria, Marziano)
Act I Scene 4: Recitative: E se il tuo non ti basta (Probo, Pulcheria)
Act I Scene 4: Aria La sul margine del rio (Pulcheria)
Act I Scene 5: Recitative: Marziano tu solo (Probo, Marziano)
Act I Scene 5: Aria: Al valore che prode ti preggi (Marziano)
Act I Scene 6: Recitative: Va' pur, la sofferenza (Probo, Teodosio)
Act I Scene 6: Aria: Imeneo piu chiare (Probo)
Act I Scene 7: Recitative: Tutta amor, tutta gioia (Teodosio)
Act I Scene 7: Aria: Trovo ne'gli occhi tuoi (Teodosio)
Act I Scene 8: Aria: Reggia amica, a te vicino (Varane)
Act I Scene 8: Recitative: Principe illustre, a sua gran sorte ascrive (Probo, Varane)
Act I Scene 9: Recitative: Che miro, o Dei? (Leontino, Probo, Varane)
Act I Scene 10: Recitative: Leontino, ov'e Atenaide? (Varane, Leontino)
Act I Scene 10: Aria: Mal s'accende di sdegno il tuo core (Leontino)
Act I Scene 11: Recitative: A cesare si vada (Varane, Teodisio, Pulcheria, Marziano, Probo)
Act I Scene 11: Tanto lieto ho il core (Varane)
Act I Scene 12: Recitative: Sei vicina, o germana (Teodosio, Pulcheria, Marziano)
Act I Scene 12: Aria: Di novi allori adorno (Marziano)
Act I Scene 13: Recitative: Signor, saggio consiglio (Pulcheria, Teodosio)
Act I Scene 13: Aria: Qual la sua colpa sia (Teodosio)
1. Lament for a Dead Infant
2. Fussy Mummy and Auntie
3. Lullaby
4. Before a Long Separation
5. A Warning
6. The Deserted Father
7. A Song of Poverty
8. Winter
9. The Good Life
10. A Girl's Song
11. Happiness
I. La Cour des lys/The Court of Lillies: No. 1: Prélude. Lent - "Frere, que sera-t-il le monde"
No. 2: "Sébastien!"
No. 3: Danse extatique de Sébastien sur le charbons embrases. Assez animé - "Hymnes, toute l'ombre s'efface"
II. La Chambre magique/The Magic Chamber: No. 1: Prélude. Très modéré
No. 2: "Je fauchais l'epi de froment"
No. 3: "Qui pleure mon enfant si doux"
III. Le Concile des faux dieux/The Council of the False Gods: No. 1: Prélude. Modéré
No. 2: "Pàián, Lyre d'or, Arc d'argent!"
No. 4: "Avez-vous vu celui que j'aime?"
No. 5: "Ne pleurez plus!"
No. 6: "Io! Io! Adoniastes!"
No. 7: "Il est mort, la bel Adonis"
IV. Le Laurier blesse/The Wounded Laurel: No. 1: Prélude. Sombre et lent
No. 2: "Il est la, le Pasteur. Regardez"
No. 3: "Helas!"
V. Le Paradis/Paradise: No. 1: Interlude. Modéré
No. 2: "Gloire!"


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