Frauenliebe Und-Leben

Descripción del producto Critically acclaimed Canadian contralto Marie-Nicole Lemieux, who records exclusively for Nave, releases her second solo recording for the label featuring a selection of fine lieder and two major song cycles by Schumann. She is accompanied by American pianist, Daniel Blumenthal. Following her critically praised debut solo CD of French mlodies (L'Heure exquise) multi-award winning Canadian contralto, Marie-Nicole Lemieux, returns with her second eagerly anticipated solo album on Nave. Acknowledged as one of the foremost interpreters of her generation in the Baroque and Romantic repertoires, Lemieux ventures into the wonderfully passionate and poetic world of Schumann lieder. The programme opens with the stunning song cycle, Liederkreis Op.39. Written in May 1840, the cycle comprises of twelve songs based on poems by Joseph Eichendorff. Though the cycle presents no intelligible narrative framework, the result is a cycle that is completely coherent, almost a dream, a masterpiece on a par with Schubert's Winterreise, consisting of a legendary ballad, mysterious nocturnes, meditations on love, and surges of passion: Romanticism at its best! Two months later, Schumann composed Frauenliebe und Leben Op.42. The songs describe the successive stages in a woman's life: Her first love, engagement, marriage, motherhood to the continuation of her love for her husband after his death. This very intimate cycle often expresses happiness tinged with sorrow and a feeling of tragedy pervades the work, even amidst the joys of marriage. Marie-Nicole Lemieux's dramatic qualities suit this cycle perfectly. To complete this programme of pieces by Schumann, Lemieux has chosen some other songs by the composer - Stille Trnen, Die Lwenbraut, Loreley, Er ist's, Widmung, Der Nussbaum - perfect for her warm contralto voice. Personnel: Marie-Nicole Lemieux (contralto), Daniel Blumenthal (piano) Críticas Canadian contralto Marie-Nicole Lemieux's voice - ample, voluptuous, satin-finished, almost without edges - reminds one of Titian's Flora or Rubens's Venus. It's an incredibly warm and enfolding voice, and Lemieux projects a sense of containment in her singing that suggests there's nothing impulsive about the passion that surfaces with such veracity, a passion evident even in the intake of her breath. In Lemieux's interpretation of Schumann's Frauenliebe und -leben, the ecstatic bride of the song cycle is no ingénue. We read her, instead, as a mature woman, surprised by the intensity of her feelings, perhaps, and all the more vulnerable for it. -- The Globe and Mail, Elissa Poole, May 14, 2009All these songs but Er ist's come from 1840, that wonderfully productive year in Schumann's life. Love was racing around in his blood and his compositional fervor produced over 140 songs, including the two Liederkreise, Myrthen, Dichterliebe, and Frauenliebe und -leben. Lemieux is a newcomer to these pages as a song recitalist, being mostly known here for her work in Baroque opera, especially in Naïve's ongoing Vivaldi series. However, she already has a number of recordings of mélodies and Lieder, ranging from Debussy and his contemporaries, to Berlioz, Mahler, Wagner, and Brahms, as we might expect of someone who won both the first prize and the song prize at the 2000 Queen Elisabeth competition in Belgium. The op. 39 Liederkreis is the more often done of the two with that name. It's a hard set to bring unity to and perhaps it should just be treated as what it says it is, a "collection of songs." Lemieux and Blumenthal do not try make it more than that. Whether you will like what she does or not depends first upon whether or not you like her voice, which, starting with a well-focused and warm lower range, thins out as it goes higher and the vibrato increases. Second, Eichendorff's poems lend themselves to a certain directness of approach, and I think she is right to take each song for what it is. With Frauenliebe und -leben, Lemieux takes on the song-cycle associated with women singers. She certainly has the voice, and I find myself asking why I cannot warm up to her reading. It is partly the fault of Chamisso's poems, of course, in the sense that they project a view of woman difficult to get excited about in our times, and it strikes me that Lemieux works too hard to suggest a naive involvement that is hard to sustain. It's just, of course, that the songs themselves are so attractive and there is no room to lace them with modern irony. Perhaps that need not happen, but we listen with modern ears. And, after so much unalloyed joy, what is one to make of the final, dark and painful, song? Lemieux and Blumenthal manage to make it the appropriate ending for the cycle. These are good performances, well recorded. Nonetheless, the competition is fierce. Apart from the more or less constant, and consistently praised, presence of the several recordings of the cycle by Janet Baker, these pages have recently had enthusiastic reviews of performances by Ann Murray (Arie, reviewed by Michael Fine in 29:6) and Sharon Rostorf-Zamir (Roméo, reviewed by Lynn René Bayley in 31:5 as "the best"). -- Fanfare, Alan Swanson, Jan-Feb 2010Canadian contralto Lemieux sang a few years ago in the Canadian Opera Company's production of Handel's "Julius Caesar," and now I wish I had gone, because I am beginning to love her singing. Lemieux has the kind of dark contralto perfect for German lieder. Her earlier disk of Brahms songs has taken up permanent residence in my car. This Schumann is just as good. The "Frauenliebe und-leben" is heartfelt--could be more impetuous here and there, though I get the impression joy does not come easy to Lemieux. (An interview I read with her began that she "exudes glee," which I am sure must be some kind of mistake.) The famous opening song of "Liederkreis" rises like a cloud is perfectly balanced. Lemieux's dark side is perfect for the spooky "Die Lorelei." There are a couple of rough edges here and there, but with a voice like this, who cares. Blumenthal does a great job with the delicate piano parts. -- Buffalo News, Mary Kunz Goldman, May 31, 2009Canadian singer Marie-Nicole Lemieux has a rich contralto voice. Her Schumann recital with pianist Daniel Blumenthal offers two famous cycles, Liederkreis, Op.39 and Frauenliebe und -leben, Op.42, as well as five other lovely songs (V5159). The songs are unfolded, at just the right tempi, without fuss, distortion or excess drama. Eventually, the lack of real personality in the interpretations causes the listener to lose interest. -- Turok's Choice, Paul Turok, November 2009The young Quebec contralto has never sounded finer than in this album of 25 Lieder by Robert Schumann. Lemieux's rich, expressive voice lends depth to these intensely nuanced, immediate-feeling interpretations. Daniel Blumenthal is an ideal accompanist on piano -- thestar, John Terauds, April 28, 2009What a treat to listen to a goodly measure of Schumann's vocal music sung in full, rich and womanly contralto. Marie-Nicole Lemieux, though still in her early thirties, displays the maturity of tone and dramatic sensitivity demanded by this quintessential Romantic genre. Whether playing the young betrothed made breathless by the excitement of her approaching nuptials or evoking the first stirrings of motherly instinct or the grief of widowhood, Lemieux delivers a stunning and credible execution. And accompaniment by Daniel Blumenthal is most expressive whilst never overreaching the support role and yet is quite unique in its tone and pacing compared with other performances of this repertoire. In addition to Frauenliebe und-Leben, Lemieux and Blumenthal perform another of Schumann's song cycles, Liederkreis, as well as five other Schumann lieder: Die Löwenbraut, Der Nussbaum, Er Ist's, Lorelei, and Widmung. While Frauenliebe und-Leben and Die Löwenbraut work within a narrative framework, Liederkreis and other selections simply evoke the atmospheric qualities of Romanticism: nature, sentimentality and longing, alongside a most seductive fear of the dark and the unknown. The obsessive spirit of Schumann's total immersion in lieder in 1840 along with his idealized perception of womanhood which drove his pursuit of Clara is well realized by these two exceptional performers. -- Wholenote Magazine, Dianne Wells, June 2009

Detalles del producto Descatalogado por el fabricante : No Idioma : Inglés Dimensiones del producto : 5,41 x 0,33 x 5,02 pulgadas; 2,88 Onzas Fabricante : Naive Fecha de lanzamiento original : 2009 Código SPARS : DDD Producto en Tienda desde : Marzo 18, 2009 Etiqueta : Naive ASIN : B001JPB9LY Número de discos : 1 Clasificación en los más vendidos de Yaxa: nº746,496 en CDs y Vinilo (Ver el Top 100 en CDs y Vinilo) nº2,766 en Operetas (CDs y Vinilo) nº115,480 en Clásica Opiniones de clientes: 4.8 4.8 de 5 estrellas 5 calificaciones Descatalogado por el fabricante : No Idioma : Inglés Dimensiones del producto : 5,41 x 0,33 x 5,02 pulgadas; 2,88 Onzas Fabricante : Naive Fecha de lanzamiento original : 2009 Código SPARS : DDD Producto en Tienda desde : Marzo 18, 2009 Etiqueta : Naive ASIN : B001JPB9LY Número de discos : 1

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