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Karine Deshayes, Opera Fuoco, David Stern - French Romantic Cantatas (2014)

1-07-2014, 19:29
Music | Classical Music | FLAC / APE

Karine Deshayes, Opera Fuoco, David Stern - French Romantic Cantatas (2014)

Artist: Karine Deshayes, Opera Fuoco, David Stern
Title Of Album: French Romantic Cantatas
Year Of Release: March 4, 2014
Label: Zig-Zag Territoires / Outhere Music
Genre: Classical
Quality: MP3 | FLAC (tracks)
Bitrate: 320 kbps | lossless
Total Time: 77:11 Min
Total Size: ~179 Mb | ~331 Mb (Digital Booklet)
WebSite: amazon


Luigi Cherubini (1760-1842)
1. Opera Fuoco Orchestra - Médée - Ouverture 07:15
Xavier Boisselot (1811-1893)
2. Karine Deshayes - Velléda 19:22
Louis-Ferdinand Hérold (1791-1833)
3. Karine Deshayes - Ariane 21:58
Luigi Cherubini (1760-1842)
4. Karine Deshayes - Médée, Act II, Scene 4 - Ah ! Nos peines seront communes... 08:36
Charles-Simon Catel (1773-1830)
5. Opera Fuoco Orchestra - Sémiramis - Ouverture 06:47
Luigi Cherubini (1760-1842)
6. Karine Deshayes - Circé 13:15

This recording, produced by the Bru-Zane Foundation and released by Zig-Zag Territories, is an invitation to discovery: that of Romantic French cantatas by Cherubini, Hérold and Boisselot in the company of an exceptional guide, mezzo-soprano Karine Deshayes, and with the attentive complicity of Opera Fuoco and its conductor, David Stern.
Karine Deshayes joins an impressive list of vocal artists with whom David Stern and Opera Fuoco have performed and recorded. The French Romantic Cantatas is Opera Fuoco's fourth disc, following Johann Christian Bach's opera, Zanaida. The French Romantic Cantatas represents a sampling of Cherubini and his contemporaries with excerpts form Cherubini's Medée and Circé and cantatas by Hérold, Catel and Boisselot. These cantatas are highly dramatic works in the style of bel canto and magnificently orchestrated precursors to the lyric works of Berlioz. The romantic, mythological theme of the femme abandonnée unites all five works on this new release.
Composed between 1789 and 1836, these scores bear witness to a genre, the French Cantata, very much present during the Baroque era and restored to favour in the 19th century as a sort of alternative to the Italian stage, generally perceived in France as being overly exuberant.
So discoveries combined with the pleasure of again finding the splendid voice – particularly well adapted to this repertoire – of Karine Deshayes.

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