Search - Poulenc, Stutzmann, Sodergren :: Montparnasse

Poulenc captured au vif

MOVIE MAVEN | 05/11/2001

(5 out of 5 stars)

"Stutzmann's voice has received mixed reviews (in the U.S., especially), largely because of the steely edge that occasionally invades the uppermost reaches of her voice at full throttle, but there is no disputing either the lushness or agility of the voice, and the artistic intelligence of Stutzmann is peerless -- just listen to her continuing series of Schumann lieder on BMG/RCA (and her recent contributions to Hyperion's series of Vivaldi's sacred music put Andreas Scholl's ventures in the same repertoire to shame). Her recording of Poulenc melodies is breathtaking -- not only for the palette of vocal effects she exhibits but for the textual acuity and very French sense of contained pathos. Indeed, this CD ably demonstrates the range of Poulenc's enterprise as songwriter, and Stutzmann is an enthralling exponent of all of it, by turns visceral, ironic, poignant, and witty. As much as I admire Felicity Lott, among others, in this repertoire, it is Stutzmann who really conveys Poulenc's mid-century and postwar Parisian world. This is an extraordinary album."

I'll take two, thank you.

Aage Nielsen | Boise, Idaho United States | 02/03/2001

(5 out of 5 stars)

"While more well known for her exquisite 5-volume series of Schumann lieder, Parisienne contralto Nathalie Stutzmann shines on this recording of Poulenc. As a bass clarinetist, I am more familiar with Poulenc's challenging instrumental music so I am amazed at the relative accessability of these vocal works. The opening "Les Banalités" cycle opens as warmly as Fauré or Chausson (but with more humor) while "Les Chansons Villageoises" cycle, as per the title, is considerably more playful. Poulenc had more than just a knack for matching words with music. Montparnasse is sophisticated enough to invite repeated listenings, but not so accessible as to make listeners tire of it quickly. I actually have a copy at home and another at work."

BEAUTIFULLY SUNG

MOVIE MAVEN | New York, NY USA | 02/10/2002

(5 out of 5 stars)

"I have never heard Nathalie Stutzmann live and only own one of her recordings. (She sings the title role in a CD from 1991 of Handel's opera AMADIGI DI GAULA.) Stutzmann is that relatively rare thing: a true contralto. She possesses a rich, dark coffee-strong, velvety voice that alternates between the sweetest intimacy to true bravura strength.The songs by Francis Poulenc on this album entitled MONTPARNASSE are miniature exercises in love, nature, war, art, death and, of course, Paris, itself. ("Ah! What a charming thing/To leave a dreary place/For Paris/Lovely Paris/Which once Love must have created.") The lyrics, like the ones above, were written by famous French authors such as Apollinaire, but my personal choice is by the great mid-twentieth century playwright, Jean Anouilh ("The Paths of Love"). I had previously heard some of these songs sung by Jessye Norman, one of my favorite singers. Norman, at times, tends to over-dramatize and over-luxuriate in Poulenc's smaller scaled pieces as opposed to his operatic works, like DIALOGUES OF THE CARMELITES in which, it seems to me, her more theatrical style is perfectly suited. Stutzmann, on the other hand, knows how to reign in her voice and enunciation when necessary. She also knows very well the pleasure and thrill of sheer dramatics. Her highly accomplished accompanist is Inger Sodergren. HIGHLY RECOMMENDED."