Favorite vocal recitals on CD or DVD

[Pohjolas Daughter]

I'm fairly sure he isn't. I seem to have a recollection of meeting him a couple of times and I'm sure he said he was no relation to the older Gerald Moore.

Ah, I thought that he might possibly be the son of (or grandson?).  I did find some information about GMM here:  https://music.yale.edu/people/gerald-moore

PD

[Tsaraslondon]

Interesting repertoire, but is the voice a little small for some of this music?

https://musicwebinternational.com/2024/10/michael-spyres-tenor-in-the-shadows-erato/

[André]

Interesting repertoire, but is the voice a little small for some of this music?

https://musicwebinternational.com/2024/10/michael-spyres-tenor-in-the-shadows-erato/

Very good review, Tsaras! Thanks for a fair and unbiased assessment.

I heard today on the radio Samoan tenor Pene Pati in a recital of french and italian arias. My thoughts were pretty much on the same plane as yours for the Spyres disc: a fine voice, but starting to strain on loud high notes (Ah, lève-toi Soleil from R&J). Another aria (Massenet) showed him avoiding belting out phrases, choosing instead a fine gradation of dynamics. What I found most particular about his singing is that he showed zero trace of accent in the french arias. Quite peculiar for someone from his background (born in Samoa, studied in NZ, then Cardiff, Wales).

I've read a few reviews, and they are quite laudatory. He is currently singing Faust at the Paris Opera. Any thoughts ?

[Tsaraslondon]

Very good review, Tsaras! Thanks for a fair and unbiased assessment.

I heard today on the radio Samoan tenor Pene Pati in a recital of french and italian arias. My thoughts were pretty much on the same plane as yours for the Spyres disc: a fine voice, but starting to strain on loud high notes (Ah, lève-toi Soleil from R&J). Another aria (Massenet) showed him avoiding belting out phrases, choosing instead a fine gradation of dynamics. What I found most particular about his singing is that he showed zero trace of accent in the french arias. Quite peculiar for someone from his background (born in Samoa, studied in NZ, then Cardiff, Wales).

I've read a few reviews, and they are quite laudatory. He is currently singing Faust at the Paris Opera. Any thoughts ?

I haven't heard him yet, so can't comment.

[André]

Well, I had to make up my on mind and purchased the album.

79 minutes, most of it french arias (57 minutes), the rest italian. Many chestnuts, some rare items. What surprised me the most, as I've indicated is that there's no way to distinguish his french diction from that of any native's. Where did he pick that ? Pati is from Samoa, as far from Paris as could be - and no, he did not move there as an infant: his family moved to Auckland, NZ, when he was 2.

In my experience only two tenors ever sang with a (slightly) more stylish french diction: Alain Vanzo and Roberto Alagna. Yes, he's that good. By comparison his italian is clear but discernibly literary: not over-enunciated, just very classical. In any case, most listeners will pay attention to other qualities: vocal production, ease on high notes, seamless legato, blending of vocal registers and of course, intelligence of the text.

Pati scores high on most of these important qualities. I detect a difference of vocal production on high notes, depending on the dynamics involved: piano/pianissimo high notes are stunning in their purity and ease of production : Salut, demeure chaste et pure, Che gelida manina, Ange si pur - vs loud high ones, where the quality is still fine, but indicates he might be going the Nicolai Gedda or Alfredo Kraus way (in tune but squally). He should definitely stay away from the heavier roles (Don José, Samson, most Verdi roles and definitely no Puccini except Rodolfo).

All told, a stunning recital (2023-24, so we get to hear how he sounds right now). Lavish production: full chorus, supporting roles taken by his wife, a very fine soprano and his brother, another tenor.

[André]

This is Lemieux' second recording of Les Nuits d'été (the first one was with piano accompaniment). Her voice has held up remarkably well if one considers she's been busy singing Cassandre (Les Troyens), Azucena, Fricka etc. By nature she's an enthusiastic performer who relishes challenges. Not one to preserve her voice from overexposure, then.

In the Berlioz cycle she sings softly most of the time. Since hers is a voluminous instrument, even her soft singing generates a fair amount of rich sound. When she pulls out the stops the effect is overwhelming and a tad intimidating. Fortunately, her art does not reside purely in her pair of vocal chords. Her diction is wonderful yet totally unaffected, her colouring and shading of words just perfect. I've read a french review marvelling over her clever use of consonants to punctuate the words while using vowels to give them colour and feeling. Quite so. Overall then this is a superb performance of this beloved cycle, if not absolutely perfect (on loud high notes her tone spreads a bit).

The short Ravel collection is just as good. Tristan Klingsor's fancy brand of free verses should not be thought of as high literature, but enjoyed for its capacity to evoke moods and suggest mental pictures. Ravel appreciated his poetry as it did not impose formal strictures on musical ideas, allowing him to compose music that flows freely. It is quite demanding of the interpreter in terms of using the voice to find the right colours on individual words without the support of an idea, a theme or narrative device. Lemieux is at her best here. Full marks to the conductor and orchestra for shapely, luminous playing - quite the best I've heard in this work.

For some, Saint-Saens' song cycle will be a big draw, and it is excellently done by all concerned here. SS however does not captivate (hypnotize) like Berlioz nor is he an orchestral wizard like Ravel. It's a fine and substantial musical achievement and its inclusion in the recital is amply justified.

I read dythirambic reviews of this disc and they are mostly on target. I heard Lemieux perform Nuits d'été in concert a few years ago (with Nézet-Séguin) and I must say the disc's is the better, subtler performance. In concert she tended to let her big voice carry her to histrionic and vocal excesses. Recommended.

[Wanderer]

Well, I had to make up my on mind and purchased the album.

79 minutes, most of it french arias (57 minutes), the rest italian. Many chestnuts, some rare items. What surprised me the most, as I've indicated is that there's no way to distinguish his french diction from that of any native's. Where did he pick that ? Pati is from Samoa, as far from Paris as could be - and no, he did not move there as an infant: his family moved to Auckland, NZ, when he was 2.

In my experience only two tenors ever sang with a (slightly) more stylish french diction: Alain Vanzo and Roberto Alagna. Yes, he's that good. By comparison his italian is clear but discernibly literary: not over-enunciated, just very classical. In any case, most listeners will pay attention to other qualities: vocal production, ease on high notes, seamless legato, blending of vocal registers and of course, intelligence of the text.

Pati scores high on most of these important qualities. I detect a difference of vocal production on high notes, depending on the dynamics involved: piano/pianissimo high notes are stunning in their purity and ease of production : Salut, demeure chaste et pure, Che gelida manina, Ange si pur - vs loud high ones, where the quality is still fine, but indicates he might be going the Nicolai Gedda or Alfredo Kraus way (in tune but squally). He should definitely stay away from the heavier roles (Don José, Samson, most Verdi roles and definitely no Puccini except Rodolfo).

All told, a stunning recital (2023-24, so we get to hear how he sounds right now). Lavish production: full chorus, supporting roles taken by his wife, a very fine soprano and his brother, another tenor.

A very fine recital disc (his second), but overall I liked the singing in his first recital disc better. I saw him live in Berlin this summer at the Staatsoper, he portrayed a very good Duca di Mantova in Rigoletto.

[Tsaraslondon]

A fine recital of songs is a welcome addition to the Quilter discography.

My review on Musicweb International and on my website

[Tsaraslondon]

A terrific recording debut from soprano and pianist Rachel Fenlon.

My review on Musicweb International and on my blog

[VonStupp]

Samuel Barber
Roberta Alexander, soprano

I have been listening to Roberta Alexander's two sets of Barber's songs quite a bit over the last few weeks. One with orchestra and one with piano, and all rather splendid.
VS

[Tsaraslondon]

An interesting programme of Scottish inspired songs, but Cunningham's tenor is a little too much on the dry side for my liking.

Glen Cunningham's Heart is in the Highlands

[Tsaraslondon]

A truly wonderful disc of Lieder for soprano and different forces which held me spellbound throughout.

https://tsaraslondon.com/2025/03/29/fatma-said-lieder/

[pjme]

From the French Rocamadour label :

"Recording made at the Théâtre Impérial – Opéra de Compiègne in June 2023

This program of French songs revolves around the little-known cycle of "Contes mystiques". Typically, a song cycle or lieder cycle brings together two authors: the poet and the composer. Contes mystiques is a collaboration between a poet, Stephan Bordèse (1847-1919), and no fewer than 12 composers. It is therefore a fascinating testament to teamwork. Augusta Holmès, Edmond Diet, Théodore Dubois, Gabriel Fauré, Charles Lecocq, Charles Lenepveu, Charles-Henri Maréchal, Jules Massenet, Emile Paladilhe, Camille Saint-Saëns, Pauline Viardot, and Charles-Marie Widor, all well-known and renowned composers, teachers, directors of conservatories and opera houses, Parisian organists, conductors, singers, and more.

While Gabriel Fauré's melody, "En Prière," became a hit, the other melodies, equally moving, speak to us of Christ's childhood and seem inspired by scenes from the apocryphal gospels. This cycle will feature melodies composed to prayers or religious texts by the same composers or by some of their contemporaries."

https://rocamadourlabel.com/reference/contes-mystiques/


"Premiered in Paris in 1896, the cycle of songs "Contes Mystiques", composed of 11 opuses preceded by a large piano prelude by Augusta Holmès, has the particularity of highlighting a rather forgotten poet and playwright, Stéphan Bordèse, and a different composer for each melody.
Son of a Neapolitan composer living in France, Stéphan Bordèse was, in addition to his writings, director of the important music publishing house Durand-Schönewerk. In this capacity, he rubbed shoulders with the most eminent composers of his time. For the cycle Contes Mystiques, which evokes the childhood years of Christ, he called upon composers as diverse as Gabriel Fauré, Théodore Dubois, Jules Massenet or Charles Lecocq, Charles-Marie Widor and even Pauline Viardot. The coherence and unity of this cycle are remarkable despite the composers' different inspirations and the atmospheres thus created by each.
Stéphan Bordèse's texts speak of tenderness and relative serenity. Each melody contributes its part to this collective cycle, which exudes great charm and speaks of Jesus gently moving towards his destiny. Several melodies, detached from the cycle, are already perfectly known, such as the famous En Prière by Gabriel Fauré or the remarkable Pourquoi les oiseaux chantent by Théodore Dubois."

Anyway, mr. Bordèse is, as a poet, not in the same league as his more famous contemporaries, but taken in digestable chunks this is a sweet and exquisit (some will say sugary, over sentimental, cloying.... ) cycle full of "finesse"!

[Spotted Horses]

I only like one.