Elle: French Opera Arias
"Elle" is Marina Rebeka's new solo album, celebrating the diversity of the female roles in some of the greatest French Opera Arias of the canon. From a sweet recounting of the pleasures of love in Charpentier's Louise, to the steely determination of Juliette in Gounod's last scene, passing through the new-found piety of Thaïs, Carmen's indomitably wild character, Chimène's extreme sadness in Le Cid, and Marguerite's transformation from an innocent girl in love into a woman longing for a man who will not return, these and the many more arias that fill this recording explore the emotional spectrum of the female roles in French Opera.
A perfect modern introduction to French Opera for the new listener as well as a valuable addition to the library of the connoisseur, Elle showcases the extraordinary art of Marina Rebeka, one of the most complete sopranos of our times, with not only a unique vocal prowess and range extension but with an unusually deep interpretative emotion, making each aria come to life in a new way.
Elle is a studio recording featuring the Sinfonieorchester St. Gallen (Switzerland) conducted by Michael Balke, marking Marina Rebeka's fourth solo album.
"She [Marina Rebeka] brings a formidable dramatic attack, reminiscent of Callas or Régine Crespin, to Massenet's Salomé and Chimène (in Le Cid), and sensual lyricism to his Thaïs." The Sunday Times, United Kingdom
"...close your eyes and listen to Marina Rebeka's gorgeous voice, and you might just find yourself transported away from the confines of your home for an hour of scintillating French music." Paris Update - France
""No need to be in love with French opera to fall swoon before the impressive recital of Marina Rebeka, a soprano from Riga, whose talent never ceases to amaze us. A ductile voice with a timbre both pure and azure, a flawlessly accurate interpretation (the French is perfectly intelligible, which in itself is a feat): Marina Rebeka portrays each role with sovereign attention to words and fluctuations in meaning." - Le Monde
"Few singers tackle Bizet's mezzoish Carmen and the high coloratura pyrotechnics of Leïla in his early opera The Pearl Fishers, but the Latvian singer is nothing if not versatile. She brings a formidable dramatic attack, reminiscent of Callas or Régine Crespin, to Massenet's Salomé and Chimène (in Le Cid), and sensual lyricism to his Thaïs." The Sunday Times
"A wonderfully silky and clean sound recording flatters a voice of irresistible charm, as well as a very "fin de siècle" interpretation, but without anything languid or evanescent. And then, what a high pitched piano on "Ah ! je suis heureuse", one of the most miraculous of the discography!" - Opéra Magazine, France
"This is an exceptional recital of sumptuous late 19th century French opera." Music Web International, United Kingdom. "Recommended Recording" Distinction
- Gustave Charpentier - Louise, Act 3 : Depuis le jour où je me suis donnée
- Jules Massenet - Hérodiade, Act 1 : Celui dont la parole Il est doux, il est bon
- Jules Massenet - Le Cid, Act 3 : De cet affreux combat... Pleurez, pleurez mes yeux
- Charles Gounod - Faust, Act 2 : Les grands seigneurs... Ah! Je ris de me voir si belle
- Georges Bizet - Carmen, Act 1 : Quand je vous aimerai?... L'amour est un oiseau rebelle
- Georges Bizet - Les pêcheurs de perles, Act 2 : Me voilà seule dans la nuit... Comme autrefois
- Jules Massenet - Manon, Act 2 : Allons! Il le faut!... Adieu, notre petite table
- Charles Gounod - Roméo et Juliette, Act 1 : Ah! Je veux vivre
- Jules Massenet - Thaïs, Act 2 : Ah, je suis seule... Dis-moi que je suis belle
- Charles Gounod - Faust, Act 3 : Elles ne sont plus là Il ne revient pas
- Jules Massenet - Thaïs, Act 3 : O messager de Dieu
- Claude Debussy - L'enfant prodigue : Lannée, envain chasse lannée... Azaël! Azaël!
- Charles Gounod - Roméo et Juliette, Act 4 : Dieu! Quel frisson... Amour ranime mon courage
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