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Track(s) taken from CDA68016

Les roses, L28

First line:
Lorsque le ciel de saphir est de feu
composer
early 1882
author of text
after Clément Marot

Jennifer France (soprano), Malcolm Martineau (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: February 2013
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2014
Total duration: 1 minutes 53 seconds

Cover artwork: An Evening in Ancient Times (1908) by Alphonse Osbert (1857-1939)
Musée de la Ville de Paris, Musée du Petit-Palais, France / Giraudon / Bridgeman Art Library, London
 
1

Reviews

'Jennifer France sounds both charming and convinced, and her slightly soubrettish but always attractive sound (unfazed by the occasional stratospheric top note that Debussy evidently threw in, further to entice Mme Vasnier) adds a proper note of youthful abandon, just what these early settings need to bring them to life. Praise is also due to Malcolm Martineau for his total empathy with the always atmospheric but by no means easy accompaniments. The recorded sound is ideal ... Baritone Jonathan McGovern too is well cast, velvety in sound, easy on the ear' (International Record Review)» More
In Les roses we find Debussy’s familiar arch-shaped phrases and an almost through-composed song, ‘Et le riant feuillage’ having the only repeated music. Marked Avec un sentiment absolument passionné, it displays the composer’s fondness for oscillating pairs of chords, broken only occasionally by word-colourings, like the unexpected chord on ‘jeu’. No doubt Massenet was the influence here as in many of these songs, but Mme Vasnier’s evidently exceptional top B gets another unaccompanied outing in the final line.

from notes by Roger Nichols © 2014

Dans Les roses, on entend les habituelles phrases en arche de Debussy et, de nouveau, une mélodie presque durchkomponiert, les mots «Et le riant feuillage» recevant la seule musique répétée. Marquée Avec un sentiment absolument passionné, cette œuvre montre la prédilection debussyste pour les paires d’accords oscillantes, brisées seulement par des couleurs de mots—ainsi l’accord inattendu sur «jeu». On perçoit ici, comme souvent dans ces mélodies, l’influence certaine de Massenet, même si le si aigu, à l’évidence exceptionnel, de Mme Vasnier peut une fois encore s’exprimer seul dans le dernier vers.

extrait des notes rédigées par Roger Nichols © 2014

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