Belle Epoque

1. Julie la Petite

2. Serge

3. Ciska

4. Molema

5. Venus

6. Chama Cha Mapinduzi

7. Pele Odidja

8. Amba

9. Jolie Africa

10. Suki Pembe Somo Somo

Tracks:

A Chloris
Le Rossignol des lilas
L'Enamour
Trois Jours de vendage
Lyde
Tyndaris
Phyllis
Les Fontaines
L'Automne
Infidelit
Dans la nuit
D'une prison
Quand la nuit n'est pas teoilee
Fume
Le Printemps
Je me souviens
Quand je fus pris au pavillion
Paysage
Fetes galantes
Nocturne
Mai
L'Heure exquise
Offrande
Si mes vers avaient des ailes

Amazon.com

Lyric mezzo-soprano Susan Graham stands out from the crowd for her expressive, opulent voice and communicative gifts. Someone at Sony has made the decision to place her in the public mind primarily as a singer of French works, and although it would be a shame to see her limited to that area of the repertoire, she does sing the French repertoire exceptionally. Graham sings sensitively and idiomatically in this group of 24 songs by Reynaldo Hahn (1875-1947), a Venezuelan-born, French-reared composer and conductor who knew how to craft a song like few others. In such lovely songs as "A Chloris," which opens the album, and "Je me souviens," Hahn creates a bevy of beautiful little worlds, which Graham and the outstanding pianist Roger Vignoles present in memorable form. This album belongs in the collection of all lovers of song. --Sarah Bryan Miller

Customer Reviews:

Susan Graham, Songs of Reynaldo Hahn.......2007-01-10

Stunning. The sticker on the front of the CD (New York Times quote) says it all: "breathtaiking and unforgettable!".

Excellent Catalyst for Seduction. Buy It........2006-05-19

'La Belle Epoque, The Songs of Reynaldo Hahn' by mezzo-soprano Susan Graham, accompanied by pianist, Roger Vignoles, is much different from my earlier subject of a Graham Review, some songs from Berlioz. The Berlioz material struck me as a concerto for orchestra and voice. This was excellent material for to wow a mate on a first date. Reynaldo Hahn's chamber songs are for much more intimate venues and objectives. Even more than any other 'Lieder' or 'Chansom' specialist I can think of, these are the sorts of things you want to use when the object is seduction.

The songs are so gentle and so seductive that they are as likely to set the tone for the seducer as well as for the seductee. Even if you are not in a seductive situation, the songs will make you want to be there.

All this means is that while Reynaldo Hahn does not have the great reputation of Berlioz or Shubert or Schuman or Debussy, you really should know his songs, and Ms. Graham does a great interpretation to make this introduction.

Graham's Artistry Makes for Compelling Listening in a Collection of Songs from a 'Minor' Composer.......2006-02-27

This was only Graham's second solo outing, and for many listeners it confirmed the promise of her d?but recording of "Les Nuits d'?t?" -- an unusual accomplishment for a relatively minor project.

I know the songs of Reynaldo Hahn from a number of worthy recordings from other artists -- Rachel Yakar, Martyn Hill, Bruno Laplante, Mady Mespl?, Graham Johnson & Co. (the Hyperion French Song Edition), one-offs on Elly Ameling albums, not to mention vintage recordings by Hahn himself. All the same, this recording was a complete revelation. Her beauty of tone, her ease with the French language (surpassing, I daresay, the much-vaunted Francophony of Felicity Lott), her canny selection of songs, Vignoles's sensitive accompaniment, they all add up. But there's that (ahem) je-ne-sais-quoi that makes something a classic, and this album has it. It captures an era, it creates a time and place that come wafting out of your speakers.

My favorite song on this record is "Si la nuit n'est pas ?toil?e" -- it is a rapturous melody to a quintessential Victor Hugo text. But there is nary a false note on the entire album. I do recommend, if you can find it, the Ameling album "Serenata," which includes two Hahn songs I haven't encountered elsewhere, "L'amiti?" with its faint melancholy and "La vie est belle" with its French ?lan.

As we know, Graham has gone on to much bigger things, but she retains her commitment to the art of song and to breathing fresh life into French rarities (as in her delightful operetta album). In terms of tone, timbre, and intonation, for my money she has the most beautiful voice in opera today. My only hope is that she doesn't go the way of Ren?e Fleming and become The Voice Beautiful ... she veered a bit in that direction with her recent Chausson record, and I hope she gets back to business and gets her vivid personality back in action in her song performances.

The beauty of "La Belle Époque".......2005-09-13

This is one of the most beautiful vocal recordings I have recently experienced. The songs of Reynaldo Hahn are beautiful gems exquisitly presented by the polished voice of Susan Graham. I have gone back to this recording many times.

A very good Hahn collection.......2004-12-05

Venezuelan-born Reynaldo Hahn was taken to Paris at age 3, and became, early enough (his most famous song, Si mes vers avaient des ailes, was composed when he was 12!) a steady feature in the musical life of Paris.

Lover of Marcel Proust, sought-after musical entertainer in the salons of the Highest Society, diarist, composer, singer, renowned conductor, influential music writer in the most powerful daily in France (Le Figaro) finally General Manager of the Opéra Comique before dying of a brain tumor in 1947, Hahn was a multi-faceted musician of the highest probity. His songs are simple, patrician, utterly elegant, and always set to the best poetry. His simplicity and purity of means accomplish in little what many pretentious thunderers fail even to approximate.

Hahn himself had a light little baritone voice, a little croak of a voice, really, with which he became popular in high society drawing rooms before the First World War: a voice that charmed duchesses and made the most reserved princesses smile. He even made some 50 records between 1920 and 1930, which show his unique, expressive musicality, unfailing sense of phrasing, elegance of style, and fine piano-playing (He almost invariably accompanies himself.)

Hahn's own 78s, and a very few others by the likes of Ninon Vallin, give a clear recorded testimony of how his songs ought to be performed: simply, elegantly, with charm.

Graham is a lovely singer and a supple musician. Her French is not exactly top-notch but most people will not care: they will respond to her beautiful sound and endearing manner. The pianist is also good.

Average customer rating:

Visions of 19th-century Paris
Another MA Masterpiece
Terrific!
Exquisite!
BELLE ÉPOQUE ERA

Paris La Belle Époque

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008NGCQ
Release Date: 2003-04-29

Tracks:

Meditation From Thais
I. Allegro Molto
II. Andante
III. Allegro Vivo
IV. Allegro Quasi Presto
Havanaise, Op. 83
I. Allegretto Ben Moderato
II. Allegro
III. Recitativo-Fantasia-Ben Moderato
IV. Allegretto Poco Mosso

Amazon.com

The cello has often been called the king of string instruments because its range encompasses all four vocal registers. Nevertheless, cellists are always complaining of the comparative paucity of their literature, and feel justified in raiding more fertile fields. Even Yo-Yo Ma, who has enriched the repertoire by commissioning a considerable number of new works and exploring the native music of different continents, cannot resist the temptation to engage in a little poaching. On this record, he performs four staples of the violin literature in transcriptions for cello, three of them his own. They are linked by their supposed influence on the French writer Marcel Proust and his famous novel, In Search of Lost Time, and take us to early 20th-century Paris, where Ma was born of Chinese parents five decades later. Naturally, the transcriptions do not work equally well. All retain the original keys and leave the piano parts intact; perhaps in an effort to reproduce the violin's bright tone-color, they also retain the original pitch for long stretches. This exploits the cello's "soprano" voice, but though Ma handles the stratospheric register masterfully, even he cannot make it sound natural, so it always comes as a relief when he lets his instrument sound like a real cello in its "tenor" or "bass" voice. Highlights are the Fauré A-major Sonata and the Saint-Saëns Havanaise: charming and elegant, the former is thoroughly romantic, exuberant and sunny; the latter captures the atmosphere and Spanish idiom brilliantly. You probably have to be a cellist to like the famous, nameless transcription of the Franck Sonata; the performance is a bit excessive in tempo, dynamics and rhythmic freedom. Throughout, pianist Kathryn Stott is a tower of strength and a model of empathy. --Edith Eisler

Customer Reviews:

Visions of 19th-century Paris.......2006-03-03

Paris at the turn of the century was glorious and enjoying its "Golden Age" with music and the arts taking center stage in society. This was the age of Paris' grand architectural plan, the Eiffel Tower, the revolutionary poets and writers, the Impressionist painters Monet and Renoir, Toulouse Lautrec and the Moulin Rouge. No less prominent were the famous musical talents of the day: Saint-Saens, Massenet, Franck, Faure, Chausson, Debussy, d'Indy and later Ravel. There was a strong interconnectedness of these composers and many were dearly loved teachers. Faure owed his learning to Saint-Saens ... Debussy was mentored by Chausson who learned under Franck. Most retained respect and admiration for classical forms (shunning the fashionable Wagnerian influences) while Debussy went his own way with totally new innovations. Faure's music was the most "quintessential French" with its clarity, poise and moderation. Together, these composers restored the prominance of instrumental music in France that had been dominated by opera. In doing so they also defined a truly "French" romanticism - one with sensuous tonalities, rich chromatic textures and a passionate lyricism.

This CD features four of the more famous Parisian compositions of this magical era, but transcribed to cello. I noticed some music critics gave this CD scathing reviews (like David Hurwitz of ClassicsToday), citing major "issues" with such transcriptions such as "tonality incongruencies" with the cello here for music written explicitly for violin and piano. Additionally, complaints were leveled at the cellist for "an overly sweet and precious style." Well, after revisiting this CD recently, it puzzles me what's the bone of contention here. Yo-Yo Ma is no amatuer in his field nor does he lack refined taste or deep musical sense. His artistry and technical ability are extremely high, and his poised, astute playing is mezmerizing to watch in concert. In contrast to such overly-academic criticism, Gramophone had very positive reviews for this CD which matched what my ears heard and did not take such a "purist" line downgrading such transcriptions to paltry art. Perhaps, some have a sour taste for the marketing machine Ma is under by his promoters. But, the good side of recordings widely marketed like this one is that it makes classical music more "accessible" to the average person shopping at Borders Books. Ma is truly a "people's musician" who is approachable, understandable and satisfying to experience. People not inclined to purchase classical music will buy one of his CD's like this one because of these qualities or a promotion - and that seems a good thing.

Regardless of one's perpective on transcriptions, Yo-Yo Ma brings great artistry and technical precision in these attractive recordings. The cellist has a strong resonance with this music as he learned the cello and these French compositions while living in Paris in his youth. In them, his style is unashamedly "honey-toned," lyrical and romantically expressive, but the average listener should enjoy such qualities just fine. Case-in-point: his buttery warmth and effortless, songful flow in the last movement of the Franck Sonata is pure musical elegance. On the technical side, Ma's passage work especially in the high registers here is quite remarkable - clean, quicksilver and with faultless intonation. His lines are elegant, his control as good any and his phrasing imbued with an extraordinary emotional depth. While still admiring the violin versions of all these works, I was most refreshed with the change to cello here with its more earthy and irresistably sensuous tone.

More should be said about Kathryn Stott who has focused her career on the French Romantic repertoire and brings a wealth a experience to these readings. Right from the opening first two bars of Faure's Sonata, she sets an exciting expectation with some deft running semiquavers that does not disappoint throughout. Her crisp and competant pianism shines the brightest in the first and third movement of the Faure Sonata and the scherzo of the Franck Sonata which glimmer. At times her piano is not as prominent in the mix compared to Ma's forwardly-miked cello which can often dominate the balance. But, I think this is more her "laying back" in many of the movements in support of Ma more than sound engineering. But, when the spotlight is one her, she sparkles. Regardless, the overall sound is bold and vivid so this balance aspect is a minor issue that should not preclude a pleasurable listening experience.

So, in total, Ma and Stott present to us the glamorous, musically sensuous world of Paris prior to the turn of the century in this fine recitial. If you had to pick some of the most beautiful chamber pieces from this era, all of these featured here would make the list. I really enjoyed these pieces and the refined playing of Ma and Stott - even if the cello is not "the right instrument." Commpositions - 5 stars, Performance - 4.5 stars, Sound quality - 4.5 stars. For those interested in superb reference recordings of the two violin sonatas in A-major: Kyung-Wha Chung (vn) and legendary pianist Radu Lupu on Decca is the top choice for Franck's Sonata. For the Faure Sonata, the Naxos disc by Kang/Devoyon is really dynamic and full of romantic verve. Both are highly recommended to further explore this wonderful genre.

Another MA Masterpiece.......2004-03-15

Yo Yo Ma once again proves why he is one of the premier cellists playing today. He has taken 4 works for violin and transormed them into works for cello. Although not totally successful, he shows very fast fingers and where the notes fit the more natural sound of the cello, he soars. But what makes this CD so delightful is the piano playing of Katherine Schott - together they make beautiful music. Nice change of pace for a cello CD.

Terrific!.......2003-07-07

Yo-Yo Ma is unquestionably one of the most fascinating performers of classical music active today. He is possessed of a ferocious technique, innate musicality and a vast imagination. From his Silk Road project to his collaborations with artists from Bobby McFerrin to Tan Dun, he always seeks new and fascinating ventures. Consisting of four French pieces from the late Nineteenth Century, La Belle Epoque is not as unique as some of his undertakings but it does have its own special twist. These pieces were originally written for violin-and for Ma to perform them flawlessly on cello with its much larger fingerboard, thicker strings, and more difficult technique is amazing. That he does so in a way that is so convincing throughout is nearly miraculous.

Sonatas by Gabriel Faure and Cesar Frank are the most substantial works on the disc. The Faure in particular is a delight, with its exuberant third movement and introspective second. Complementing these sonatas are the Meditation from Jules Massenet's opera Thais and Camille Saint-Saens' Havanaise. Ma's interpretation of the Massenet work is truly intense and Romantic, but not always meditative. His control of the line, in every aspect, from dynamics to tempo to vibrato shows him a master of the musical phrase. Pianist Kathryn Stott matches Ma superbly throughout every turn. But it is in the Saint-Saens, a delightful and almost comic Spanish dance alternating with virtuoso showpiece, that Ma really shines. His obvious joy in the music, coupled with his astonishing ability, makes this disc a real pleasure.

Exquisite!.......2003-05-07

I thoroughly enjoy this recording. My favourite piece out of the lot is Saint-Saëns' "Havanaise"; it is truly a romantic work of music. The onset of the distinguishing melodic string of notes is just beautiful; interestingly, the interaction of Ma's cello and Stott's piano is almost flirtatious. "Meditation From Thais" is also an outstanding piece; rhythmic and full of melancholy in nature, it is soothing after a long day at work. With these recordings, Ma's cello spends most of the time in the upper soprano (violin) ranges of the instrument, and it is quite amazing, which is why the conclusion to "Eternal Vow" from the Crouching Tiger/Hidden Dragon soundtrack is such a delight; the sound, although, not as natural as a violin, is nevertheless, pure and serene. And one major advantage the cello has over a violin in these pieces is the ability to also go deep and sound full; I have always enjoy the cello's ability to engulf the listener with its bass, sing to them in the midranges, then awe them with the highs. Go get this CD and enjoy!

BELLE ÉPOQUE ERA.......2003-05-03

All of those works are linked together and fit well in a so called BELLE ÉPOQUE concept.The masterpiece is of course the FRANCK sonata that also works well in a violoncello transcription.That famous sonata is undoutbtedly remembered as the epitome of the era.It has a particular sad mood that really gets to you if you are sensitive.It would be nice to put alongside this cd SUSAN GRAHAM'album of the same title.You can go to sleep peacefully after those two.

L'Invitation au Voyage: Mélodies from La belle époque

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I want some more

L'Invitation au Voyage: Mélodies from La belle époque

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Tragédiennes
Fauré - The Complete Songs, Vol. 4 ~ Dans un parfum de roses
Faure: Complete Songs 1 - Au bord de l'eau
Gabriel Fauré: The Complete Songs, Vol. 3
Fauré: The Complete Songs, Vol. 2: Un paysage choisi

ASIN: B000FI9026
Release Date: 2006-07-11

Tracks:

L'invitation Au Voyage
Depart
Bonjour, Suzon!
Regrets!
La Cigale Et La Fourmi
La Chauve-Souris Et Les Deux Belettes
Le Spectre De La Rose
Oh! Quand Je Dors
Chanson Du Berger
Guitare
L'invitation Au Voyage
Viens!
Madrid
Comment, Disaient-Ils
Soupir
Si Mes Vers Avaient Des Ailes
L'Invitation Au Voyage
Ici-Bas
Serenade
Psyche
Les Papillons
La Chanson Des Blondes
Danse Indienne
L'invitation Au Voyage

Customer Reviews:

I want some more.......2006-08-10

A John Mark Ainsley recital of French song, built around four different settings, by four different composers, of Baudelaire's poem, L'invitation au voyage has to be a treat. It is. (Take your pick which setting supplies the title to the disc.) Mr Ainsley's French is superb, and his singing elegant and beautifully nuanced. Unfortunately, sound engineers seem to have difficulty getting the settings right for his voice, and the first track echoes as if he is singing into a tin bucket. It makes the piano sound like some dreadful old church hall hack, too. Hence four stars. The rest of the disc is much, much better.
Graham Johnson's accompaniment is not his best work - he sounds a little tired these days.
Nonetheless, this is a beautiful disc of some gems of songs, and a well-planned programme. Just as you think you've got the measure of it, the atmosphere changes. Another disc like it would be very, very welcome.

La Belle Epoque: French Music for Trumpet and Piano

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La Belle Epoque: French Music for Trumpet and Piano

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

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ASIN: B000CQM4S8
Release Date: 2006-01-03

La Belle Epoque-Emi's French Girls 1965-68

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La Belle Epoque-Emi's French Girls 1965-68

ProductGroup: Music
Binding: Audio CD

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ASIN: B000NOKF3U
Release Date: 2007-05-08

Album Description

Excellent CD that collects the best tracks by the talented female artists signed to EMI's French labels. British stars like Sandie Shaw recorded material exclusively for France - and she's heard with her rare French-only track "Rien N'est Fini". Remastered from the original sources at Abbey Road, La Belle Epoque - EMI's French Girls 1965-68 presents these 20 tracks as they've never been heard before. Some tracks have previously been included on French compilations or bootlegs, however, the sound quality here is a revelation. Original mono and stereo have been used, preserving the integrity of the original recordings. EMI. 2007.

Paris La Belle Epoque: Yo-Yo Ma, Katheryn Stott

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Paris La Belle Epoque: Yo-Yo Ma, Katheryn Stott

Manufacturer: Sony/BMG
ProductGroup: Music
Binding: Audio CD
ASIN: B000A2EKB8

Product Description

Recorded January 28 February 1, 2003 at Mechanics Hall, Worcester Massachussets. The tracks are: 1. Massenet's Meditation from Thais(transcribed for cello by Yo-Yo Ma), 2. Faure's Sonata No. 1 in A Major for violin and piano, Op 13 (transcribed for cello by Yo-Yo Ma), 3. Camille Saint-Saens' Havanaisse, Op 83 (transcribed for cello by Yo-Yo Ma). and 4. Franck's Sonata in A Major for violin and piano (version for cello and oiano).

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La Belle Époque

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

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ASIN: B000005EB1
Release Date: 1993-09-07

Tracks:

La Belle Epoque: Theme Et Variations Sur Le 'Carnaval De Venise'
La Belle Epoque: Fantasie Brillante
La Belle Epoque: Goutte D'Eau
La Belle Epoque: La Traviata - Variations
La Belle Epoque: Fete Militaire
La Belle Epoque: Myrto Polka
La Belle Epoque: Madeleine
La Belle Epoque: Le Pays Du Sourire - Air du Prince Sou-Chong: 'Je t'ai donne mon coeur'
La Belle Epoque: Lakme - Scene Et Legende De La Fille Du Paria
La Belle Epoque: Les Pecheurs De Perles - Romance De Nadir