Natalie Dessay

I thought the movie was good, but I was disapointed with the rating. I think the sexual scene was downplayed in the PG13 rating, i.e. "a little bit of sexual nudity"..I would not want any children watching that scene, it was obvious sexual intercourse.I think it should have had an R rating instead.
I was very disappointed with the rating

wonderful sound track, beautiful, melancholy, nostalgic, sad but sublime music to synchronize this unnecessary human tragedy.
i remember that i've seen an older movie exactly like this, but it's american soldiers and german soldiers doing the x'mas truce, drinking and singing the x'mas carols together on x'mas eve. why and how it became possible? because both countries still have the same religion, the same belief and the same god.
anyway, the premise of that and this movie is to deliver a message to you: enemy is what your president, your chancellor, your goverment, your generals giving to you. they point across the border, telling you that a whole foreign country out there and the all the people in that specific nation are your enemy. when these people decide to declare the war on that country, then the people in that country suddenly become your enemy. before that, you never knew that you've got an enemy, you'd never thought the people in that country would be your enemy.
funny thing is once the war is over, tourism would take over, and then you'd travel to that once you thought very unfriendly country and shake the hands of that country's people. if you go there in the holiday season, you'd say 'merry x'mas' to each other with smiles on your face.
but some of the countries that would never become your friendly nations and your friendly foreign people if you invade their country and force them to reform a new government and replace all the guys your government doesn't like. and they'd never say 'merry x'mas' to you, because they have different culture, different belief, different god, different book of god, different holidays. but regretfully, when you invade their country, you've totally destroy all the things they used to have. when all the good and bad are forcefully changed in the name of liberation by a foreign nation, there's no way they'd appreciate your holidays with respect.
this is what we have to learn from this movie.
you know why this truce could be achieved between german soldiers, french soldiers or american g.i.s?
funny thing is that under same god, same belief, same bible, same....how could it possible that they'd still become enemies to each other? two boxers with the same belief into the boxing bouts, they both cross themselves before each bout and wish god would help him to beat out of his opponent. why they fight each other? because the words 'in god we trust' are printed on paper money. the green $ sign pushes them to fight each other. maybe the cause of a war between nations with the same religion is the green $ sign too?
eh, by the way, if i sit in my living room, watching this movie, how could it possible that i would become enemy even to my neighbors, if i don't have a yapping dog barking day and night, bothering their sleep?
by the same token, how could it possible that i would have a whole region's countries' people who hate me to the guts and screaming 'death to america! death to americans!'?? how could i become an enemy to a country about ten thousand miles away if i couldn't even make an enemy to my immediate neighbors?
now, you tell me, i just want you to tell me. i don't want my government and its imbecile officials to tell me.

Philippe Rombi is a composer new to this listener and being so impressed with the film 'Joyeux Noël' encouraged purchasing the Soundtrack. Not a mistake at all. For once the entire music excerpts of significance are intact, even the artists who were guests, providing professional opera singers for the voices of the two cinematic actor/singers.

Rombi opens the film about WW I with very eloquent, quiet, lovely solo piano music, and very often he is so sensitive to the message of the film that just when the action looks as though the music should be of the Carmina Burana ilk, Rombi settles for orchestral Adagios. He has elected to use the carols Stille Nacht and Adeste Fidelis for the actor Sprink to sing and uses the voice of the gifted tenor Rolando Villazon to intone the music. To establish the relationship between the two opera singers, Sprink and Anna (Villazon and Natalie Dessay), he has them perform a duet version of Bach's 'Bist du bei mer' - the words of which take on deep meaning as the film progresses. When he has a moment for Anna to sing a solo, he writes his own version of Ave Maria for Anna/Natalie Dessay to sing. It is very lovely.

There are several 'tunes' written for the score - 'Fraternizers' Hymn' ('I'm Dreaming Of Home'), the theme for Anna and Nikolaus - which very well could endure long after the score and film disappear, they are that fine.

In all the score is very strong and well played, sung, and conducted. This is a soundtrack that bears attention for lovers of beautiful music. Grady Harp, November 06

Anyone know if this spectacular film will ever be released on DVD?

A wonderful soundtrack to an awesome movie.

I can't listen to it enough, Thank you Philippe Rombi

My wife and I saw Ms.Dessay perform Lucia at the Paris Opera in a non-traditional production. We thought it was fabulous, but the DVD of her performance at the Met in a traditional staging may be even better. Although there are a few misses in her singing,the overall effect leaves you in tears. The combination of acting-and I have seen Dame Joan, Lily Pons, Anna Moffo and Maria Callas in person-and singing is unbeatable. I do hope this production is released in its entirety. I enjoyed the CD but the DVD is the reason to buy this product.

A must have! That's all one has to say about this! Well done Natalie. We move with you...a true actor-singer synthesis who is also very precise musically and correct in technique! Brava!

...she never made me cringe, either. Callas made me cringe. Often...OK, that's not really fair...Miss Dessay is of the lyric/coloratura mold; Callas fit more in the lyrico-spinto niche. This is a well presented program of lyric and bel canto staples [and some not so staple]....it fits Miss Dessay to a T. Her upper, and middle, notes are her strong points..."always play to your strength" is a good lesson anywhere.

My favorite cuts were the first and last...Violetta's "sempre libra", an ode to hedonism if there ever was one, is superb. And Lucia's Mad Scene rocks. Rocks? Poor word, but...? OK...chilling. I have heard better renditions of "caro nome", but she sure got the job done.

Opera is bad for trotting out records, and comparing. Unfortunate. Unavoidable. Natalie is a very wonderful singer. Anna Nebtreko, and Bidu Sayao, send me off into outer space...but, even though they share roles, they are not true comparisons. Joan Sutherland? You can be very good, and still not be as good as the greatest ever. Natalie must sing Lucia to folks who heard Sutherland...unfair, but that's opera. Callas? Well, I'm not one of her fans. [No comparisons allowed with Ponselle and Flagstad; they were unique one-time gifts from God].

This is a very well-done, well-selected, album. Miss Dessay is a truly wonderful singer...bet you'll like her.

ADDENDUM...after watching the DVD...it's easy to say "yes, but I heard Sutherland..."; OK....well....but I saw Dessay. Absolutely fabulous. Dame Joan is a voice for all eternity, but Lucia is weak, wounded, and pathetic. Those are not words to describe some Lucia's, and certainly not Sutherland, but Natalie makes you believe it. Five Stars for the video.

As I understand it, Natalie Dessay recently underwent surgery for nodes on her vocal chords. Hence, I was quite interested to listen to this CD, to see if this had affected her obvious gifts as a coloratura soprano, one of those high-flying phenomena. I even compared how she sounded here to some of her earlier recordings; for the most part, I don't really hear much of a difference (but my ears are quite untutored).

She reigns as one of the premier coloratura sopranos of the current era. I'm not sure that she ranks with Sumi Jo, but she surely ranks ahead of most others of her species. And her awesome high notes (listen to her in "Fruhlingstimmen," the Strauss waltz; that final note must be G or possible even A above high C? Not quite Mado Robin-esque, but pretty impressive--and musical at the same time). . . . Here is a sampling of cuts from this CD.

"E strano!. . .Sempre libera." This segment from Verdi's "La Traviata" is a wonderful work. She begins this nicely, in "E strano!," an aria sung well and affectingly (from videos that I have seen, she appears to be a good singing actress). How about her performance in the cabaletta, "Sempre libera"? She seems in command of this piece, and her singing is quite satisfactory indeed. There is a bit of harshness here and there, but not a critical problem. A solid high note to close out. Overall, nicely done.

"Vien diletto." If I were to create a collection of my favorite cabalettas from opera, this piece from Bellini's "I Puritani" would be on that list. The first run through is smoothly sung, albeit at a deliberate pace. The repeat? She amps it up. Much more florid singing, including nice staccato singing and interpolation of higher notes. No trills, to my regret (I know, I should not impose what I'd like to hear on an artist's interpretation, but. . . .). Well done, with a nice final high note.

"Nella pace del mesto ripose." This is from one of Donizetti's operas, "Maria Stuarda," another nice entry in the coloratura soprano repertoire. Overall, smoothly sung, with considerable vocal agility. Midway through, some ugly sounds, as her voice gets awfully harsh on a couple high volume high notes (a la the late Callas, whose voice spun out of control in such circumstances). Still, she recovers well and concludes with a set of solid high notes.

The final cut I'll look at--my favorite cabaletta of all, "Spargi d'amaro pianto," from Donizetti's "Lucia di Lammermoor." For those who are interested: Yes, she sings the Italian and not the French version (hearing Dessay sing this in French is weird, since I have memorized the Italian lines from the cabaletta); yes, the orchestra uses the glass harmonica (according to the liner notes). The first go through is taken at a rather slow pace, but Dessay sings well. The repeat? More florid singing (as one would hope), staccato singing, a decent trill, fine agility, and a solid final high note. Not sure that her high notes are quite as stunning as before surgery, but she still does well closing out an aria.

And, there is a bonus! One also gets with this a DVD of her Metropolitan Opera performance of this opera in September, 2007. It's sometimes fun to watch as well as listen to opera singing. The pace from this performance is peppier than that on the CD. From what I can tell, she is a fine actress for an opera singer (compare her acting performance in videos with Joan Sutherland's in the Mad Scene). When she repeats "Spargi," she shows good staccato singing, a nice trill, and good vocal agility. Nice final high note.

So? A good compilation of recent operatic works by Natalie Dessay. And the DVD is a nice bonus.

I bought this recording to hear the amazing coloratura of Natalie Dessay specifically displayed in stunning bel canto vocal arias from Italian opera.

Natalie Dessay's crystal clear coloratura is what brings this set to absolute life. One only needs to hear the beginning of the "Air des clochettes" to know that his has to be one of the greatest artists of our time. The subtlety and clarity in her voice is astonishing. Having heard the Sutherland version, I can say with utmost confidence that this set...kicks the Sutherland one in the pants (and I'm a big Sutherland fan).

The rest of the cast is just as impressive. Gregory Kunde soars to the rafters as Gerald, and Jose van Dam makes a dark and imposing Nilakantha.

The only problem that I could have with this set is the libretto. It was just a little sloppy. Reading the English side, there were several grammatical errors (verb tense and so forth). It was as if the translator hadn't taken English in a few years. On one page they printed the French on both sides, that didn't help me very much! These are minor problems, and the incredible singing easily overcomes them.

The glory of the EMI set is the fresh, girlish portrayal of the heroine by Natalie Dessay, starrily seductive with her silvery, girlish tone, first heart ravishingly for afar. Technically, she is superb too, and the "Bell Song" becomes a narrative, not just a coloratura display piece. As Gerald, Gregory Kunde has an appealing light and heady tenor, sounding totally idiomatic. Jose van Dam as the vengeful Nilakantha is not a menacing as some, but he sings with satisfying firmness. Delphine Haldan's fruity mezzo contrasts rather than blends with Dessay's soprano in the popular "Flower duet," but with Plasson warmly expressive, generally taking an expansive view, the sensuousness of the score is well brought out, helped by the atmospheric Toulouse recording, though not as sharply focused as the vintage Decca recording, Bonynge more bitingly dramatic.

With her ability to color every phrase delicately, Natalie Dessay is undoubtedly this century's greatest coloratura soprano. Highly underrated, she could easily bring truth to her interpretation of this Lakme through her very good reading of the score and her ability to enunciate her French very well. Gregory Kunde is one of the greatest rising French tenors. Michel Plasson showcases Delibes' mystical and erotic music through a very passionate, delicate, and at the same time flowing reading of the music. A must for any fan of this great opera. I would recommend it highly over the Mady Mesple and definitely over the Sutherland version. Own it today, you won't be disappointed.

I shall not go into individual performers...there are several other reviewers that do that very well. My somewhat disjointed impressions are the following:
.....If there is a better Lakme...I don't think I could listen to it. This is as much beauty as I can tolerate.
.....I have listened to other recordings of Lakme but none matches this (and this is the only one that I actually own).
.....You usually find what you are looking for...if it is imperfections there are some within this recording; however, if it is beauty that you seek then you have found it.
.....One disclaimer: This was the first recording of Lakme that I heard, that may have biased my opinion relative to other recordings (i.e., First Loves being the most intense, etc.).

Cheers!!

This is an opera full of beautiful moments and with one small exception, I could not ask for better soloists. Plasson's conducting carefully nurtures stunning sounds from the Orchestre du Capitole de Toulouse and the Choir is equally attentive. The "Bell Song," for example, is done at a more graceful pace (a little slower) than normally performed and the result is exquisite.

Natalie Dessay's sweet, crystalline voice lovingly captures Lakme's delicate character. She produces each note with such finesse and emotion that you are almost completely taken. The other singer to capture your appreciation is Gregory Kunde. There are tenors that I hold in great and high esteem, Placido Domingo is foremost for me. Giuseppe Di Stefano and Sergei Larin are examples of other tenors who I find just amazing but NEVER have I encountered a voice as stunning in a role as Kunde's. His Gerald is never strained, always smooth, and passionately urgent without being the slightest bit overdone. The most immediately likeable tenor voice I have ever heard on disc.

Jose Van Dam is a singer I came to appreciate most for his Amfortas in Wagner's "Parsifal". Here, devoid of Wagner's tortured arrogance, his voice is even warmer and more expressive. Bernadette Antoine (the small exception) is an overly "fruity" Mistress Bentson and this is the recording's only minor flaw, in my view (her chest register is rather poor and the sound isn't pretty). The other roles are all excellently sung, particularly Delphine Haidan's Malika, whose Flower duet with Lakme is the definition of 'sublime'.

The sound is clear digital. I can't recommend this opera enough. It's a very human story from the plot to the music (whatever the French word for 'verissimo' is). Speaking of 'French' the diction is totally convincing to my ears. I can find no faults.

Natalie has the most beautifully clear high soprano voice I have ever heard. The high notes soar effortlessly; she makes it seem so easy. A truly beautiful album, beautiful selections, and a voice that is impossible to find fault with. Even if you're not an opera fan, if you enjoy a lovely soprano voice singing beautiful songs, I believe you will enjoy this album.

Her voice is dull and unemotional. She sings everything slow, not up to tempo. I bought this and (babe in the woods) another of hers after reading all the comparisons to Jo and Pons, and the liberal use of the expression "top notes." Would have been nice if she'd sung a few. Anyone who does not end the mad scene from Lucia on a top note deserves a big kick in the rear. The mad scene was rewritten, only spots of it were familiar. The flute obbligato and both top notes were left out. What the world does not need is another coloratura who does not go for the top notes. And a Sutherland this one ain't. It's ridiculous to compare her to Jo and Pons, she can't hold a candle to them. Better compare her to Caballe and Gheorghiu, that's more her speed. She has a good range and moderate facility. A reviewer said there's more ornamentation in the mad scene from Lucia on this CD than on her DVD. If so, she must have hummed on the DVD. I ordered Mesple (also compared to Dessay in the deceptive reviews) which is due in a couple days. If that too is a rip-off, I'll never buy another new soprano. Incidentally, the set (of these CDs) with the full 26 tracks on it is available at [...](if you don't mind Tower and catch them in a good mood!). What ever happened to Sumi Jo?

Natalie Dessay can sing the high notes and do the trills and her voice is clear and agile, but one has the feeling she is picking her way until she reaches the coloratura bits. While there is nothing wrong with her singing, it is just NOT very engaging. Some of the coloratura passage leaves listener unsatisfied. Unlike other singers, you don't feel the built-up the the 'big moment'. And even in those moments, she slows down and let the tension slips away. One can only wonder what it would be like, if she can built up her arias like Callas, or attack her coloratura passage like Sumi Jo.
Try listing to Mady Mesple in the Bell Song, Sumi Jo in Der Holle Rache, Suterland in the Doll Song, Callas in Ah Je Veux...

This excellent 2-disc version has 18 tracks.

Another version, containing 26 tracks, is available on iTunes for $19.98. It contains additional tracks from Lucie de Lammermoor and Die Zauberflote (Der Holle Rache should not be missed!).

Natalie Dessay's "The Miracle of the Voice" is a welcome addition to the recording oeuvre. She covers much territory in this 2 CD work--from Offenbach to Donizetti to Gounod to Delibes to Massenet to Stravinsky and Bernstein (Candide). I'll mention sample selections below, rather than going through each one separately.

She shows the ability to do well in the bel canto repertoire, featuring an agile, light voice that can get to the high notes and master coloratura techniques (trills and so on). In "The Bell Song" from Delibes "Lakme," her clear voice handles this work well. Fleming and Sutherland have darker voices; Dessay's is quite a bit lighter, more typical of what we think of as a coloratura voice (even though coloratura singing is manifest from basses to sopranos). She demonstrates nice trills and an ability to hit high notes accurately. In "Olympia's Song" from Offenbach's "Les Contes d'Hoffman," she captures nicely the "mechanical" voice of her character. Once more, nice trills and agility with the notes.

Of course, the "Mad Scene" from Donizetti's "Lucia di Lammermoor" (here, sung in French) is prime coloratura territory. Dessay essays this nicely. In the slower earlier parts of this long scene, she shows a certain pathos, appropriate for a young woman who has gone mad over love and betrayal. When she gets to what in Italian would be "Spargi d'amaro pianto," she does well. Again, she exemplifies agile vocal technique. The second time through, she displays nice ornamentation. Given that she can trill well, it is somewhat surprising that this technique is not deployed better and more often. Nonetheless, well done.

From Mozart's "Die Zauberflote," Dessay takes on The Queen of the Night's "Der Holle Rache." Again, well done. She hits the high notes easily and without strain (not something that all sopranos can say). And now for something completely different. . . . Johann Strauss' "Fruhlingsstimmenwalzer." A delightful romp. A Strauss waltz. Nice vocal technique. One wonders if Dessay could not have made this more "fun," since it is a waltz. Nonetheless, this is an easy and pleasant "listen." I once heard (is my memory correct on the name?) Theresa Stich-Randall sing this, and the effect was similar.

Stravinsky's "Song of the Nightingale" from "Le Rossignol" is another change of pace. Nessay shows the range of her repertoire with this piece. Thelonius Monk's "'Round Midnight" was adopted for the French language here, with Claude Nougaro joining Dessay on vocals. Another interesting departure from the earlier operatic sound--an engaging piece. Her operatic skills do not overwhelm this song or work against Nougaro's voice. Finally, Leonard Bernstein's "Glitter and Be Gay" from "Candide." This is a credible effort at somewhat lighter music, while she still exhibits the vocal skills that she has.

This is the first CD from Dessay that I have listened to. It won't be the last. A remarkable range of singing, done well across a variety of genres. This is a good introduction to the art of Dessay for those who have not heard her before.

This must rank among the WORST "Lamento della Ninfa" ever recorded. Dessay sounds vulgar. ...That's the word: vulgar. If you are interested in any reference recording of this work, choose rather Veldhoven ("Love & Lament") or Tragicomedia. The other items are not so bad, but then not so good either.

My understanding is that Natalie Dessay underwent surgery for vocal cord problems. Thus, I was quite curious to listen to this CD, to determine the state of her voice. She has surely been one of the top coloratura sopranos of the past couple decades, along with Sumi Jo et al. This is certainly not the repertoire that I'm used to from Dessay, but this is an affecting CD.

The "Introduzione" from Handel's cantata, "Delirio Amoroso," features Emmanuelle Haim conducting Le Concert d'Astree. This is a nice sprightly start to the cantata. In the recitative and aria, "Da quel giorno fatale" and "Un pensiero voli in ciel," Dessay sings well. If anything, her voice seems somewhat richer and fuller than before her surgery (although I have not played any "before" recordings due to sloth). She sings well, with backing from Haim on harpsichord as well as other musicians on their instruments. In the aria, Dessay's voice shows considerable agility and a rich quality.

Another part of the cantata, "In questa amene piagge serene," is begun with a well played instrumental solo. Dessay enters and, again, sings well. This is a different repertoire for her than I am used to, but she seems to handle it well.

The cantata closes with an energetic minuet, with musicians playing their instruments well.

Then, there is a piece from "Aci, Galatea e Polifermo," "Qui l'augel da pianta in pianta." Once more, Dessay shows both nice vocal agility and a creamy sounding voice.

An interesting wedding between composer (Handel), group and conductor (Le Concert d'Astree and Emmanuelle Haim), and singer (Dessay). A satisfying work. . . .

I love Handel, and bought this cd because I had never heard "Delirio amoroso" or for that matter, I had never even heard of it. The cd turned out to be a wonderful surprise. The music is light and airy. Delirio is a substantial and brilliantly orchestrated cantata for solo Soprano. Handel aficionados may recognize some of the music as Handel reworked one of the arias for both "Rodrigo", and "Radamisto".

The cd also includes an aria from "Aci, Galateae Polifemo". If you are unfamiliar with this, then you may find yourself wanting to search out the entire cantata.

Finally, there is "Mi palpita il cor", a cantata that has been reworked several times. The cd notes say that this appears to be the earliest version of this cantata. While a purist may need to know that, to me it hardly mattered. The music intertwines the solo soprano voice with the oboe making the "palpita" a new Handel favorite. I love that combination! It is haunting in a way that baroque music seldom is. In my spare time I may search out the versions... one for alto voice and flute, HWV 132c, or HWV 132d, which apparently uses both flute and oboe.

Natalie Dessay is perfectly suited to the musical and interpretive demands. I love her voice! She moves through her voice registers seamlessly. She adds color to her voice as she interprets the music flawlessly. I don't know what else one could expect of a singer.

This is well worth the purchase price. I highly recommend it.

This is one of those albums for people who love Baroque music but who want to enter the realm of the lesser known works. Though Natalie Dessay has become a star on the opera stage, here she collaborates with Emmanuelle Haïm conducting Le Concert D'Astree in three cantatas for soprano and instruments. The result is a CD of enormous beauty and grace and one that deserves awards in every category of music making!

There are three works on this well engineered CD: 'Il Delirio Amoroso', 'Aci, Galatea e Polifemo,' 'Mi palpita il cor', and the aria 'Qui l'augel da pianta in pianta'. The recital opens with the 'Introduzione from Il Delirio Amoroso' in which Emmanuelle Haïm sets a buoyant and elegant mood for the rest of the recording. Natalie Dessay is in top form here, giving us a broader range of voice than we are used to hearing from this talented artist. She has a definite affinity for Handel and her approach to these rare works is gratifying in every way. Highly Recommended. Grady Harp, March 06

Natalie Dessay is back with a new album in spite of her two accidents in the last few years threatening her vocal chords.

Thanks to hard work, her stratosferic voice is still there, her agility to sing and her massive breath remain unchanged and her vocal pyrotechnics unrivalled. She is a force by nature, fully emotional when she sings, her voice is a wonder, crystal clear and devastatingly accurate with a remarkable power and flexibility...no hint of strain even at the outer limits.

Emmanuelle Haïm already worked twice with Natalie Dessay on the "Arcadian Duets" from Handel and "L'Orfeo" from Monteverdi. It's been a long friendship and cooperation between them.

Other Dessay's releases are as good as this one : Lucie de Lamermoor from Donizetti, Lakmé from Delibes (where I discovered Dessay), Alcina (singing Morgana), and other CDs dedicated to French Opera Arias...

If you've never heard of them, just try one CD : you cannot be disappointed. If you want to see the remarquable actress she is, the DVD recorded live at the Liceu in Barcelona ("Hamlet" from Ambroise Thomas) is the one you have to buy to admire her.

You will neer regret any purchase.

French soprano Natalie Dessay has had to endure two major surgeries to remove nodes that were preventing her from fully reaching her stratospheric, two-and-a-half octave range. This supple dexterity is showcased nicely albeit briefly in her soubrettish turn as Morgana on the 2000 recording of the 1999 William Christie-conducted Paris Opera production of Handel's "Alcina". She also intertwined flawlessly with soprano Veronique Gens on "Ahi, nelle sorte umane" from the 2002 recording of Handel's Arcadian duets. Here, again under Emmanuelle Haim's direction of the period-authentic Le Concert d'Astree, Dessay performs in a deeper tone with more heft and color at the lower end, and the vocal change, if anything, has improved her interpretative skills in realizing the pastoral mythologies set to Handel's wondrous music composed during his youthful Italian sojourn when he was in his twenties.

Equipped with a cleaner, crisper voice than Cecilia Bartoli, Dessay produces a similar emotional intensity on the two cantatas featured here. Both written in 1707, they become vehicles for her to carry her own unique power and eloquence. Haim sets the stage beautifully by allowing her ensemble to play Handel's opening sinfonia with spirited solo turns on each of the featured instruments - oboe, cello, recorder and violin (played with virtuosity by Stefanie-Marie Degand). Five minutes later, Dessay enters and takes command of the first cantata, "Delirio amoroso" with the high point likely being the stunning aria, "Lascia omai le brune vele" with oboist Patrick Beaugiraud providing lively accompaniment during the key obbligato.

The second cantata, "Mi palpita il cor", is a more somber piece highlighted by Dessay's particularly adept performance of the two arias - the first about the possibility of rejection from a lover, "Ho tanti affanni in petto" and the concluding one, an about-face sung with complete abandon, about the gleeful anticipation of love, "Se un di m'adora". Regardless, the disc's unequivocal peak is the aria which bridges the two cantatas, "Qui l'augel da pianta in pinata" from "Aci, Galatea e Polifemo", where Dessay astonishes with her virtuosity in one of Aci's most dramatic passages. Overall this is a superb recording that matches a stellar voice growing more burnished over time with an impeccable ensemble. Handelians should be pleased.

fantabulous!!! a must have! I had to get it for a beginner italian opera course but am now obsessed and listen to it all the time ... if you know opera at all you will appreciate it more, i only say that because after watching these songs i understand them so much better and want to listen to their emotion constantly. so, i advise, rent some popular operas then listen to this cd, then experience exaltation. haha enjoy.

Ideal for an opera lover, or for anyone who loves gorgeous singing. I am an opera nut and was introduced to this one by accident; "Au gond du temple saint" from Pearl Fishers (selection #6, disc one) was playing on the stereo in the Metropolitan Opera giftshop when I walked in at intermission one night. I thought it was so stunning I bought my first copy of the CD then and there; and have bought 2 other "back-up copies" since then, as well as having it on my iPod.

If you are in search of a cd containing various popular pieces from the greatest operas in the world, then search no more. This cd contains classic operatic pieces, sung by some of the most talented tenors and sopranos out there, including Placido Domingo. Madame Butterfly's Un Bel Di and Turandot's Nessun Dorma are, without a doubt, two of the most emotional and dramatic songs ever composed. Fortunately, this inexpensive two cd set includes those songs and many more. This cd is a delight to own, whether or not you've ever attended an opera.

I am not particularly a fan of opera but do realize it's merit. I also appreciate the talent of it's artists. This 2 disc set offers a wide, wisely chosen selection from most of the popular operas, performed by most of the world's greatest singers, present and yesteryear. Yes, you will find legends such as Maria Callas to Pavarotti to the up and coming Roberto Alagna and Angela Gheorghiu; sharing space on these discs. Economically, I was able to obtain this set for under ten bucks. My research could not find a more varied set with such a stellar roster at any price. It will impress any novice to seasoned collecter. I wish that EMI annotated the set better, a brief synopsis of each track would have tutorial value. The sound reproduction flows seemlessly from track to track.

This is billed as "the greatest opera stars on one double album for the first time ever."

Many major voices of the first part of the past half century are presented on this CD (e.g., Shwartzkopf, Moffo, Freni, de los Angelos, Sutherland, Callas, Gedda, Merrill, Bjoerling, Pavarotti, Sutherland, Domingo, et al.). Also represented are some more contemporary singers, among whom are Kanawa, Gheorgiu, Alagna, Dessay, and so on).

So, a nice album. But we are also reminded of the absence of some major figures on CDs (such as Richard Tucker, who is little represented on CDs). . . . Hopefully, in future years, more of those glorious voices will become accessible on CD.

Este recopilatorio ofrece variedad de estilos, versiones siempre de alto nivel y precio medio muy interesante. Muy recomendable para iniciarse en el mundo de la opera de la mano de los mejores artistas de hoy y de ayer, aunque algunos de los grandes cantantes se echan quiza en falta.

Beautiful music for anyone. Even those I know who generally dislike opera have taken an interest! These are truly highlights of some of the greatest peices...breathtaking voices...relaxing and yet movingingly passionate. I reccomend this for anyone wanting a varied and yet stunning collection.

This set of two CDs is a great way to listen to some highlights from many different operas when you aren't in the mood to listen to a full opera. Many of your favorite arias are here, such as Nessun Dorma, Habanera, Non piu andrai etc. But what I liked most about it is that it features many different artists. While I love my Pavarotti and Domingo albums, it is nice to hear other singers.

Also, hearing some pieces that sounded familiar have gotten me interested in operas I haven't heard or seen before, such as the Flower Duet from Lakme. I've heard that before--but where? Probably in some car commercial...

This music will haunt you, and is wonderful for listening to while driving or just sitting. Try it with headphones on so the rest of the world goes away.

I'll be honest. I heard this CD played on Brazilian radio. Had I not done so I probably would not have wanted to buy it, as on the face of it it would have appeared to have been not really my "cup of tea" as the British say.
I have to admit the art of the coloratura soprano is one I have never paid a great deal of attention to, but such is the startling originality of tone and sheer technical brilliance and artistry of Natalie Dessay that I listened to this spellbound. Almost none of her repertoire I was familiar with. You could say they are mostly minor late romantic pieces but there are some absolute gems among them . Rachmaninov's lovely, sad but intensely melodic Vocalise. Le Rossignol et la Rose by Saint Saëns. Les filles de Cadix, a perfect piece of faux-espagnol, both passionate and amusing at once, by Delibes. Ravel's tantalizingly brief Vocalise en forme de habanera and Granados' quintessentially Spanish La Maja y el Ruiseñor ( untranslatable this, The Lady and the Nightingale is far too prissy). My favorite of all, however, was the Russian folk song arrangement, The Nightingale (yes, Nightingales feature very strongly on this CD!), which manages to combine country simplicity with ravishing technical bravura. I wish I could have understood the words, perhaps the CD will provide a translation. If you enjoy singing of any sort you have got to love this. My only complaint is that she did not include a couple of pieces in a different style. Mozart's Queen of the Night for example.

This is an intriguing CD, featuring Natalie Dessay at her best. One plus: the booklet coming with the CD includes the words of the different works (at least those that have words to them). It's a somewhat different set of works than her other CDs featuring standard selections of arias.

The very first cut sets the tone for the whole CD: Rachmaninov's "Vocalise." No words--the soprano's voice is itself another orchestral instrument in effect. Dessay displays an absolutely ravishing vocal line, to my ears. Very nice high notes at the end, cleanly sung.

Delibes' "Les filles de Cadix." The words of the song feature much flirtation. Dessay's voice shows great agility in this piece. The work features a wide range of notes, from lower to highest; Dessay essays the range well. There is a decent (but not great) trill midway through. There is a very high note at the end (a bit harsh maybe, but well done nonetheless) that kind of gets one's heart pumping.

Gliere's "Concerto for Coloratura Soprano and Orchestra" (the allegro) is another work where the voice is used as just another instrument. But what a nice instrument is Dessay's voice! She demonstrates nice staccato notes--and there are lots of these in this work! She displays excellent coloratura technique, and hits a series of staccato high notes at the end with a very well done final high note.

Finally, Johann Strauss, Jr.'s "Voices of Spring" ("Fruhlingsstimmen-Walzer" in German). This is a stirring version with a close that leaves the listener gasping for breath (a bit of hyperbole, maybe, but my spine was tingling at the close--and that's not hyperbole). This work is replete with ornamentation--staccato notes, trills, other vocal effects, and high notes. There is an absolutely stunning high note--way above high C to close this cut out.

This is Dessay near the top of her game. It is an interesting departure from the standard repertoire, and the listener will be richly rewarded for purchasing and listening to this CD.

Truly mind-boggling! The final piece especially - she sings a perfect, staccato high A-flat!!! Many high Fs, etc. Yes, it is all about the voice, technique, and high notes here, but she sings it all with her own unique style - buy it now!

Natalie Dessay's voice shines throughout these selections. Her technique is at times astounding. This recording is a very enjoyable experience.

I will start by saying that just from listening to the excerpts, Ms. Dessay has a wonderful tone quality and great control...she does make what is actually very difficult sound very easy! But basically this is a note to the reviewer who compared her to Rennee Fleming...Fleming is a Lyric Soprano, a type of soprano that has a warmer richer tone, while Dessay is a Colloratura Soprano, which is higher and clearer (and who tend to do the "vocal gymnastics")...so really its not very fair to compare two exceptional singers when they are in different vocal categories because they have completely different tone qualities...it just depends on your personal preference.

This CD should be illegal - everyone from the singers to the musicians obviously had way too much fun - and so will you! Natalie Dessay shines as Eurydice and Laurent Naouri is a delightful (if rather roving) Jupiter, while Yann Beuron makes Orphee come alive. Ewa Podles gives Public Opinion exactly the right amount of santimonious self-rightousness.

A truly delightful recording - even if you aren't an opera lover, you owe it to yourself to listen to this wonderful romp to Mount Olympus and the Underworld...a case of Heaven in Hell!

Great performances all around, great sound...doesn't get any better (or more fun) than this.

I do not believe there are any cd's in my entire collection that I have listened to as many times as I have listened to this one! Tableaux Troix is nearly worn out! Thanks to a slight taste of the english lyrical versions of Offenbach on Lesley Garrett's 'Soprano in Red' album, I new I had to have more, and if Garrett was a taste then Desay is truly the meal! Everything about this album was great. The preformance of all the cast to the sound quality (which seems always to be of a high caliber with EMI) go beyond excellence! I can not recommend this cd but demand that you hear it and you will know what I am talking about!

I recommend this to everyone I meet who is into music of any kind. I recommend getting the DVD of this performance as well..it's absolutely hilarious. If you're a fan of Dessay, Petibon, Podles, and Fouchecourt like I am, then what are you waiting for? It's time to order, yo!

Love,
Chris

Excellent all around! Dessay and Podles stand out.

I love this opera and this particular CD. For me the highest mark goes to Natalie Dessay for her pure voice and her expression. Against the purists, I really miss the ouverture-pot pourri that you listen sometime on the radio.