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Most Helpful Customer Reviews
4 of 5 people found the following review helpful
Format:Audio CD
I'm guessing few people reading this will not know who Natalie Dessay is, but for the uninitiated, she's one of the biggest stars of Opera today, known for her electric live performances.
This double CD set is sort of a "greatest hits so far", but really on the theme of her singing some of the most difficult and complex arias around.
The first disc is more modern, and mainly in French, and contains some lovely pieces. The second is mostly older and non-French composers, inclusing Handel and Mozart, but also some more modern composers, including a nice addition of Bernstein's "Glitter and Be Gay", recorded live.
Some of the performances are actually quite breathtaking, particularly through the more difficult passages, as is her vocal range, which soars up to a sustained G, and even staccato above that in a couple of places. There are also some beautifully performed less intense arias.
Her voice is in fine form throughout, and although I'm sure there are some who are marginally technically better, no-one can match her drama and performance - and I don't even like opera that much! For example, Sumi Jo recorded a similar album a few years ago, and technically she's perhaps a bit better, but she can't compete with actual performance and committment to the parts in my opinion. Recommended.
This double CD set is sort of a "greatest hits so far", but really on the theme of her singing some of the most difficult and complex arias around.
The first disc is more modern, and mainly in French, and contains some lovely pieces. The second is mostly older and non-French composers, inclusing Handel and Mozart, but also some more modern composers, including a nice addition of Bernstein's "Glitter and Be Gay", recorded live.
Some of the performances are actually quite breathtaking, particularly through the more difficult passages, as is her vocal range, which soars up to a sustained G, and even staccato above that in a couple of places. There are also some beautifully performed less intense arias.
Her voice is in fine form throughout, and although I'm sure there are some who are marginally technically better, no-one can match her drama and performance - and I don't even like opera that much! For example, Sumi Jo recorded a similar album a few years ago, and technically she's perhaps a bit better, but she can't compete with actual performance and committment to the parts in my opinion. Recommended.
0 of 2 people found the following review helpful
Format:MP3 Download|Amazon Verified Purchase
I have already bought her Album Mad Scenes which is similar to one recorded with the same name by Callas, My only grump about what spans two full CD's of superb singing is that it can be too much to take in a single sitting. It is excellent value as a download if you like a top soprano on form singing opera
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
6 reviews
32 of 32 people found the following review helpful
Wonderful introduction to "The Art of Dessay"
21 Jan 2007
Format:Audio CD|Amazon Verified Purchase
Natalie Dessay's "The Miracle of the Voice" is a welcome addition to the recording oeuvre. She covers much territory in this 2 CD work--from Offenbach to Donizetti to Gounod to Delibes to Massenet to Stravinsky and Bernstein (Candide). I'll mention sample selections below, rather than going through each one separately.
She shows the ability to do well in the bel canto repertoire, featuring an agile, light voice that can get to the high notes and master coloratura techniques (trills and so on). In "The Bell Song" from Delibes "Lakme," her clear voice handles this work well. Fleming and Sutherland have darker voices; Dessay's is quite a bit lighter, more typical of what we think of as a coloratura voice (even though coloratura singing is manifest from basses to sopranos). She demonstrates nice trills and an ability to hit high notes accurately. In "Olympia's Song" from Offenbach's "Les Contes d'Hoffman," she captures nicely the "mechanical" voice of her character. Once more, nice trills and agility with the notes.
Of course, the "Mad Scene" from Donizetti's "Lucia di Lammermoor" (here, sung in French) is prime coloratura territory. Dessay essays this nicely. In the slower earlier parts of this long scene, she shows a certain pathos, appropriate for a young woman who has gone mad over love and betrayal. When she gets to what in Italian would be "Spargi d'amaro pianto," she does well. Again, she exemplifies agile vocal technique. The second time through, she displays nice ornamentation. Given that she can trill well, it is somewhat surprising that this technique is not deployed better and more often. Nonetheless, well done.
From Mozart's "Die Zauberflote," Dessay takes on The Queen of the Night's "Der Holle Rache." Again, well done. She hits the high notes easily and without strain (not something that all sopranos can say). And now for something completely different. . . . Johann Strauss' "Fruhlingsstimmenwalzer." A delightful romp. A Strauss waltz. Nice vocal technique. One wonders if Dessay could not have made this more "fun," since it is a waltz. Nonetheless, this is an easy and pleasant "listen." I once heard (is my memory correct on the name?) Theresa Stich-Randall sing this, and the effect was similar.
Stravinsky's "Song of the Nightingale" from "Le Rossignol" is another change of pace. Nessay shows the range of her repertoire with this piece. Thelonius Monk's "'Round Midnight" was adopted for the French language here, with Claude Nougaro joining Dessay on vocals. Another interesting departure from the earlier operatic sound--an engaging piece. Her operatic skills do not overwhelm this song or work against Nougaro's voice. Finally, Leonard Bernstein's "Glitter and Be Gay" from "Candide." This is a credible effort at somewhat lighter music, while she still exhibits the vocal skills that she has.
This is the first CD from Dessay that I have listened to. It won't be the last. A remarkable range of singing, done well across a variety of genres. This is a good introduction to the art of Dessay for those who have not heard her before.
She shows the ability to do well in the bel canto repertoire, featuring an agile, light voice that can get to the high notes and master coloratura techniques (trills and so on). In "The Bell Song" from Delibes "Lakme," her clear voice handles this work well. Fleming and Sutherland have darker voices; Dessay's is quite a bit lighter, more typical of what we think of as a coloratura voice (even though coloratura singing is manifest from basses to sopranos). She demonstrates nice trills and an ability to hit high notes accurately. In "Olympia's Song" from Offenbach's "Les Contes d'Hoffman," she captures nicely the "mechanical" voice of her character. Once more, nice trills and agility with the notes.
Of course, the "Mad Scene" from Donizetti's "Lucia di Lammermoor" (here, sung in French) is prime coloratura territory. Dessay essays this nicely. In the slower earlier parts of this long scene, she shows a certain pathos, appropriate for a young woman who has gone mad over love and betrayal. When she gets to what in Italian would be "Spargi d'amaro pianto," she does well. Again, she exemplifies agile vocal technique. The second time through, she displays nice ornamentation. Given that she can trill well, it is somewhat surprising that this technique is not deployed better and more often. Nonetheless, well done.
From Mozart's "Die Zauberflote," Dessay takes on The Queen of the Night's "Der Holle Rache." Again, well done. She hits the high notes easily and without strain (not something that all sopranos can say). And now for something completely different. . . . Johann Strauss' "Fruhlingsstimmenwalzer." A delightful romp. A Strauss waltz. Nice vocal technique. One wonders if Dessay could not have made this more "fun," since it is a waltz. Nonetheless, this is an easy and pleasant "listen." I once heard (is my memory correct on the name?) Theresa Stich-Randall sing this, and the effect was similar.
Stravinsky's "Song of the Nightingale" from "Le Rossignol" is another change of pace. Nessay shows the range of her repertoire with this piece. Thelonius Monk's "'Round Midnight" was adopted for the French language here, with Claude Nougaro joining Dessay on vocals. Another interesting departure from the earlier operatic sound--an engaging piece. Her operatic skills do not overwhelm this song or work against Nougaro's voice. Finally, Leonard Bernstein's "Glitter and Be Gay" from "Candide." This is a credible effort at somewhat lighter music, while she still exhibits the vocal skills that she has.
This is the first CD from Dessay that I have listened to. It won't be the last. A remarkable range of singing, done well across a variety of genres. This is a good introduction to the art of Dessay for those who have not heard her before.
2 of 2 people found the following review helpful
westonjm
31 Mar 2009
Format:Audio CD
Lets be fair here. I have just heard the second cd in this compilation, and can honestly say that it is one of the most wonderful and enjoyable I have heard in years! People have been trained to pull Callas and the like out of their memories, and refuse to admit that anyone can approach their great divas. But, they are wrong. Dessay's disk is pure joy! Her voice is more beautiful than Callas' ever was. Yes, Callas was wonderful in her passion. But her voice was not always the most beautiful. I can't wait to hear the first cd in this compilation.
10 of 15 people found the following review helpful
One of Two Versions
30 Jan 2007
Format:Audio CD
This excellent 2-disc version has 18 tracks.
Another version, containing 26 tracks, is available on iTunes for $19.98. It contains additional tracks from Lucie de Lammermoor and Die Zauberflote (Der Holle Rache should not be missed!).
Another version, containing 26 tracks, is available on iTunes for $19.98. It contains additional tracks from Lucie de Lammermoor and Die Zauberflote (Der Holle Rache should not be missed!).
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