Maria Callas DRAMA QUEEN

DRAMA QUEEN

Filarmonica della Scala / Riccardo Chailly CHERUBINI DISCOVERIES

                                                        CHERUBINI DISCOVERIES

Gaëlle Arquez / Orchestre National Bordeaux Aquitaine / Paul Daniel ARDENTE FLAMME

French mezzo-soprano Gaëlle Arquez is one of the rising stars of the opera world. Nominated “Révélation Lyrique” at the “Victoires de la Musique 2011”, she made a noted debut in the title role of the new production La Belle Helene at the the Théâtre du Châtelet and is scheduled to sing the title roles of Carmen, Xerses, Pelleas et Mélisande and Armide.

For her first album with Deutsche Grammophon, Ardente Flamme, rising star Gaëlle Arquez shows the extent of her talent through a program that pays homage to the French repertoire from Baroque to Romantic music. 

Accompanied by the National Orchestra Bordeaux Aquitaine under the direction of Paul Daniel, the mezzo-soprano embodies the female characters in opera who are the most torn between Duty and Love. From Gluck to Massenet, via Berlioz, "Ardente flamme" travels thourgh the history of French opera in a selection of both famous and lesser known tunes, including excerpts from Bizet's Carmen, which Ms. Arquez is currently performing  in the most beautiful European venues, including the Royal Opera House, Frankfurt Opera and Teatro Real de Madrid.

Véronique Gens / Les Talens Lyriques / Christophe Rousset TRAGÉDIENNES 2

This is the second instalment of Véronique Gens's Tragédiennes series, which examines how francophone composers from the 18th and early 19th centuries dealt with the heroines of classical tragedy. Classical, in this context, means Racine as well as Greek and Roman drama, though Gens contentiously widens the definition even further at one point to include a chunk of Sacchini's Renaud, based on Tasso's Renaissance epic Gerusalemme Liberata. The programme is variable, with giants such as Gluck and Berlioz placed alongside also-rans such as Piccinni and Grétry. All of it, however, requires the ability to sing words as well as phrases, and Gens's immaculate way with a text is often as mesmerising as her ability to sustain the long sculpted lines that are a common stylistic feature among her chosen composers. There are some surprises: she sings Cassandra's music from Berlioz's Les Troyens, where we might expect to hear her as Dido; when she turns to Cherubini's Medea, for what is probably the greatest track on the disc, it is to play the sorrowing maid Neris, rather than the pathological heroine. Her accompanists are Christophe Rousset and Les Talens Lyriques, a bit lightweight in Berlioz, but startling and effective elsewhere. (Tim Ashley / The Guardian)