"It is important for me to come back to
art song as often as I can to hone my musicality and work in more detail
as well as connect more intimately with my audience," explains soprano
Layla Claire, whose 2016-17 calendar has been dominated by opera: Donna
Elvira in Mozart’s Don Giovanni (Montreal, Zurich) and Countess Almaviva
in Mozart’s Le nozze di Figaro (Philadelphia).
Her debut recital album, Songbird (due out June 2 on ATMA Classique),
has given her not only the art song fix she craves, but also an
opportunity to collaborate with pianist Marie-Ève Scarfone, whom Claire
describes as "a terrific musician and a joy to work with. Her
personality is pure sunshine, which was a perfect match for the
repertoire we chose."
The recording sessions took place in
Salle Françoys-Bernier at Domaine Forget in the Charlevoix region of
Quebec. "We recorded it there because of [the] terrific facilities and
acoustics. The region was beautiful and inspiring — we had an incredible
view of the St. Lawrence River. We walked along the beach and through
the spectacular colours of the autumn forest between recording
sessions."
Claire describes Songbird as a “sound
garden — songs that we loved and thought worked well together,” rather
than a collection built around a specific theme. “They are songs that
are nurturing, cosy and charming,” she continues. “I wanted a CD that I
could imagine someone putting on and listening to at home with a cup of
tea."
The first song they selected was Ernest
Chausson's "Dans la forêt du charme et de l'enchantement" — "unsettling,
unusual and beautiful," says Claire — and they built the rest of the
program around it: songs in three languages and spanning three
centuries, from Henry Purcell's "Music for a While" to Dominik Argento's
"Spring," by way of Gounod, Brahms, Wolf, Fauré, Britten and others.
"I added Barber's 'St. Ita's Vision'
last," she notes of the lullaby from Hermit Songs, "as I was coming
toward the end of my pregnancy and could start imagining rocking and
nursing my little one."
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