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Mirages / Devieilhe


Release Date: 11/10/2017 
Label:  Erato   Catalog #: 565160  
Composer:  André MessagerClaude DebussyLéo DelibesMaurice Delage,   ... 
Performer:  Sabine DevieilheAlexandre TharaudMarianne CrebassaJodie Devos
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Number of Discs: 1 
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Notes and Editorial Reviews



Soprano Sabine Devieilhe’s signature operatic role,Lakmé, forms the starting point for her enticing albumMirages. A collection of opera and song in French, its theme is the exotic allure of faraway – and imagined – places and people. In addition to three numbers from Delibes’ opera, it features music by Berlioz, Debussy and Stravinsky and some rarer names: Thomas, Messager, Koechlin and Delage. Devieilhe is joined by mezzo-soprano Marianne Crebassa, pianist Alexandre Tharaud and the period-instrument orchestra Les Siècles under its founder, François-Xavier Roth.

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REVIEW:

This adventurous program places
Read more familiar showpieces into the most fascinating of contexts, exploring the fantasy image of a different country that was such an obsession in fin-de-siecle France. She has a wonderfully instinctive and apparently effortless way with the music.

– Gramophone Read less

Works on This Recording

1.
Madame Chrysanthème: Le jour sous le soleil béni by André Messager
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: Romantic 
Written: 1892-1893; France 
2.
Pelléas et Mélisande: Mes longs chevaux by Claude Debussy
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: 20th Century 
Written: 1893-1902; France 
3.
Lakmé: Où va la jeune Hindoue? by Léo Delibes
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: Romantic 
Written: 1883; France 
4.
Poèmes hindous (4) by Maurice Delage
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: 20th Century 
Written: 1913; France 
5.
La romance d'Ariel by Claude Debussy
Performer:  Alexandre Tharaud (Piano), Sabine Devieilhe (Soprano)
Period: 20th Century 
Written: 1884; France 
6.
Lakmé: Viens, Mallikà...Sous le dôme épais "Flower Duet" by Léo Delibes
Performer:  Sabine Devieilhe (Soprano), Marianne Crebassa (Mezzo Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: Romantic 
Written: 1883; France 
7.
Le rossignol: Airs du rossignol by Igor Stravinsky
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: 20th Century 
Written: France 
8.
Hamlet: A vos jeux "Mad Scene" by Ambroise Thomas
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: Romantic 
Written: 1868; France 
9.
La mort d'Ophélie, Op. 18 no 2/H 92a by Hector Berlioz
Performer:  Alexandre Tharaud (Piano), Sabine Devieilhe (Soprano)
Period: Romantic 
Written: 1842; France 
10.
Thaïs: Celle qui vient est plus belle by Jules Massenet
Performer:  Jodie Devos (Soprano), Sabine Devieilhe (Soprano), Marianne Crebassa (Mezzo Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
11.
Le voyage by Charles Koechlin
Performer:  Alexandre Tharaud (Piano), Sabine Devieilhe (Soprano)
12.
Lakmé: Tu m'as donné le plus doux rêve by Léo Delibes
Performer:  Sabine Devieilhe (Soprano)
Conductor:  François-Xavier Roth
Orchestra/Ensemble:  Les Siècles
Period: Romantic 
Written: 1883; France 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Sabine Devieilhe Breaks Through December 23, 2017 By Art Music Lady See All My Reviews "Interestingly, the liner notes indicate that this album came to be from her desire to record the role of Lakme. Why Erato did not allow her to do so is beyond me, because the three excerpts contained herein reveal her to be possibly the best-suited voice for this role since Mady Mesple recorded it way back in the 1970s. This is not to say that Devieilhe’s voice is like Mesple’s because it is not. Where Mesple was heady and vibrant, Devieilhe has a very smooth tone production, almost creamy, all the way up through her highest notes, but they share an inner enthusiasm for the role that is exactly what is needed to put it over for the public. But creaminess of tone is not all that Devieilhe has to offer. She also has a fully integrated technique, one in which all the little niceties of coloratura singing—trills, mordents, grace notes and the like—just roll out of her like natural speaking. Like her Australian-born counterpart Danielle de Niese, Devieilhe also has an enthusiasm when singing that is infectious, and this, too, is a necessary ingredient for Lakme. But I was also very impressed by her ability, very rare even for some of the finest rivals in her voice range, to sustain great breath control, which allows her to go up into the stratosphere without a break for breath. In addition to all this, look who her accompanist is: the great conductor François Xavier Roth, whose recordings of the orchestral repertoire have garnered critical acclaim around the world. Judging from this recital, Devieilhe isn’t quite as detailed an interpreter as de Niese, but de Niese her diction is flawless and, being French, perfectly idiomatic. Interestingly, I also hear in some of her range the kind of sweetness that Mado Robin possessed, and Robin, too, was a first-rate Lakmé (just don’t expect Devieilhe to sing the B above high C, as Robin could). I have to admit that the 4 Hindu Poems of Maurice Delage were entirely new to me. Delage (1879-1961) was a contemporary of Ravel and Milhaud but neither as impressionistic as the first or as harmonically daring as the second. His music has some of the touches of the Impressionist school but, at least in these songs, more tonal and less amorphic harmonically. Nonetheless, the songs are well written and Devieilhe sings them with creamy ease. Oddly, much the same things can be said of Debussy’s La Romance d’Ariel, a pleasant song but scarcely one of his best or most memorable. Again, Devieilhe sings it beautifully. Yet perhaps the greatest performance on this disc is her version of the aria from Stravinsky’s Le Rossignol. She sings it better than anyone I’ve ever heard, including Reri Grist on Stravinsky’s own excellent recording of the complete opera—and it is by no means easy. Devieilhe’s unique ability to keep her high range creamy and perfectly centered is exactly what this music needs, and here, for once, it gets it. I personally questioned the inclusion of the complete “mad scene” from Thomas’ Hamlet, surely one of the most sugary and least dramatic settings of Shakespeare known to mankind. Yes, it’s a vocal showpiece and yes, Devieilhe sings it perfectly, but “Camptown Races” with runs and trills would have had as much musical value (plus, it has “Doo-dahs.” Does Thomas’ music have doo-dahs? Does it?). Ophelia sounds about as “mad” as Katie Couric with a hangnail, and it goes on and on for almost 12 minutes. Not enough time to vaccum the house, but more than is needed to clean the cat’s litter pan. Berlioz’ setting of the Death of Ophelia, also lyrical, is more interesting music although I don’t think much of its dramatic value, either. The duet from Thaïs is slightly better music, and soprano Jodie Devos joins Devieilhe and Crebassa here to give a first-rate performance, helped along by Roth’s lyrical yet taut conducting. Koechlin’s setting of Le voyage is typical of his genius: melodic but not predictable, the tonal melody set to floating, bitonal piano accompaniment. Along with the arias from Pelléas and Rossignol, it is surely one of the highlights of the album. --Lynn Rene Bayley, The Art Music Lounge" Report Abuse
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