Most entertaining one yet, thanks. In late '78, or maybe early '79, the exact date is lost in the mists of time, I heard Crespin sing Nuits D'ete at BAM, part of an all Berlioz program conducted by Sarah Caldwell. Crespin was in town for Carmelites at the Met. She sang a good chunk of Dido's music from Troyens as well, and as an encore Habanera of course. I had only a vague idea who the lady was going in, and was just beginning to appreciate great singing, but the minute she opened her mouth I knew I was hearing something very special. I'll never forget her bearing either, so regal. She made her first entrance like visiting royalty, which in a way of course she was.
Many years ago, I heard Ms Norman perform, in the same broadcast (BBC) Brahms Alto Rhapsody and The Poulenc Gloria! A tremendous honour!! Breathtaking! Also, in the Gloria, I heard Joan Rodgers, still a student (RNCM.,) sing the most ethereal performance of this that I have ever heard!I It so made me want to hear her in the Strauss Four Last Songs! Happy Days :)
So many great recordings, but I particularly like Eleanor Steber and Mitropoulos. She practically sets fire to your CD player in the climax of ' Spectre de la rose' is stunning in 'L'absence' and so moving in ' Au Cimetiere.' There is a feeling of immediacy , spontaneity about the recording and Mitropoulos understood when to allow Steber to linger on a phrase while keeping the sense of flow. Steber had something very special in the music of Berlioz I think , as she did in Mozart and Strauss. I believe this was one of the first , perhaps even the first Les Nuits D'Ete complete to be recorded. I've shared my views with American musician friends / colleagues . We had an interesting discussion. They feel that Steber is frequently overlooked in the USA because she was a homegrown/ trained American singer, but as I said to them we hear singing of this calibre so rarely , if ever, anywhere these days. It is worth celebrating.
My two to-go-for versions of Nuits are modern: The Veronique Gens is intimate and chamberlike with great immediacy, and the best is probably (IMO) the late Hunt-Libereson, done live on 19th century instruments / replicas. A great recording. Otherwise I'm into Danco for authenticity and Crespin (though not the vilanelle, the originaltonart was not for her).
your interpretation of Villanelle eclipses all the others !! 😀. Great Jessye Norman rememberance...Great video that gives the full picture. Crespin still rules, every word is clear
Love your singing. Bravo! Great recommendations. Frederica von Stade was an American who was attractive, popular, and ingratiating (especially with the American public) and that didn't translate well to the "serious" classical world. Hence, she was underrated. The Brits can be so snooty. Speaking of Brits, they pushed Janet Baker SOOOOOOO much that people eventually got tired of her and sought out alternatives to her performances. Just being different from Baker became an attribute. But as Robert Graves once said of Shakespeare, "Despite all those people who say so, he really was very good." And how could you not love Ameling on these? Another perfect match of voice and material. But Crespin was born to sing these...and she did.
I saw Ameling giving conservatory students a masterclass in Faure songs. She spent a lot of time getting them to make the words intelligible without losing the line of the melody. You can hear her attentiveness to both aspects of singing in everything she did. And I share your opinion of the Crespin recording! (but I like Leontyne Price, too).
When I was 7 or 8, I remember my mom cutting my hair in the kitchen when my dad walked in with his new Dimensions in Dynagroove sampler LP. First up was the Villanelle (Leontyne Price and Fritz Reiner). I loved it immediately and kept interrupting my hair cut to play it again. So as a teenager, Les Nuits d’Ete was one of my first purchases. What a disappointment! So dreary after the Villanelle! To this day, I’ve never made it all the way through the piece. In short, Dave, I wholeheartedly agree with your assessment.
Yes, I get the point, but "Spectre de la Rose" is the incontestable masterpiece of music and poetry and Crespin's voice. So don't stop until after no. 2.
Thank you for recommending the Ely Ameling with SFO. I found a used copy and love it. The voice, orchestral balance, and recording clarity are wonderful!
I know exactly what you mean by the direct and intimate delivery of Elly Ameling. I'm eager to hear her Scheherazade, which will probably be the very first French I've heard her sing. Loved your Jesseye Norman story. I did not have a personal exchange with her, but I did see her in recital in Berkeley in the early 80's, right after her album of Schubert and Mahler songs came out. (Remember the hit single from that was "Der Zwerg.") She had yet to become a superstar, and the ticket sales were so modest that the audience was ushered, at her insistence, from Zellerbach Hall to a small recital hall elsewhere on the campus. And yes, her entrance was unforgettable, because none of us knew what a giant she was. Now my favorite part of this non-story: her accompanist was Calvin Simmons. May God rest his soul, what a loss his early death was. Did you ever have contact with him? ALSO: Thank you for recognizing Frederica von Stade!!
I'm sorry I had no contact with Simmons, but I do have fond memories of concerts at Zallerbach, including The English Concert with Pinnock playing Bach.
The guy with that Jessye Normanesque delivery who did those TV ads for the records of tunes by the GREAT MASTERS that became popular songs was yet another John Williams, in this case the veteran British character actor who was in a million things, including as the Scotland Yard inspector in Dial M for Murder.
Jessye N's recording here was my first experience with this wonderful, wonderful music; and between it and Kiri Te K's which I dearly love also, this marvelous music has been with me for several decades. An aside - a friend who is also a singer/pedagogue was once at a dinner (in Amsterdam?) honoring Jessye -- tells the story of how JN got stuck in her chair, and how it took several people to free her; all the while Jessye was laughing, took it all in stride. What an honestly, being herself person she was. Anyways, Many Thanks for your several suggestions for these works, which I will get with forthwith !!
Sweet Jessie Norman anecdote. Shocked you dont love Les Nuite d’Éte. Do you know The Death of Ophélie ?(!) - so touching when you think it (at least tacitly) written for poor Harriet Smithson. Wonderful commentary
I had the privilege of attending a master class Crespin gave on French style, back in the early 80's. When someone asked her if she could name any currently active French singers worthy of emulation, she replied (avec un soupir triste) that there was hardly anyone left who really knew how to sing French properly, but she did mention Jose van Dam (who is Belgian). By that time, years of chain-smoking Gauloises, or whatever her brand was, had lowered her speaking voice to a sepulchral bass-baritone. One of the Poulenc songs she does on the disc you reviewed is "Hotel", which ends with the delicious line: "je ne veux pas travailler, je veux fumer" -- which, of course, she delivers impeccably.
And that was forty years ago... wow. By the way, I recently heard José van Dam saying, in an interview, that French is the most difficult language to sing (because of all the diphtongs: -eu, -on, -ain, -an)
Loved your rant about pronunciation of names, so I'm hesitant to leave this comment... but I figure it's a bit of worthless trivia: I had a conversation with Frederica von Stade about twenty-five years ago and she insisted that it was pronounced 'vaughan stade' not 'fon Schtade.' She explained, "People think I'm this German aristrocrat, but i'm really from New Jersey!"
Funnily enough I bought the crespin version recently and the booklet was also incorrectly printed. I got Beethoven and Schubert songs instead! I managed to get a replacement copy though.
I love your reviews, Dave. The anecdotes alone are worth the price of admission. I know Ms Norman's voice was enough to make you (or rather me) crawl across hot coals to hear, I didn't like her in these. Too statuesque, too goddess looking down from Mount Olympus for my tastes. I am, however, completely in agreement about Baker and Crespin. I never want to choose between the two because why would you? I am just grateful that both these discs exist.
Dear Dave I really enjoy your comments. I completely agree that Crespin/Ansermet is a marvelous recording, in my view the most atmospheric but what about Steber/Mitropoulos? I think that it belongs to the top interpretations of the nuits. Don't you? Greetings, Dimitris
A hilarious denigration of Nuits, one of my Fav. pieces. IMO Baker's Crespin's expression (and enunciation!) are superior to Crespin's. I agree re order and Ameling
Most entertaining one yet, thanks.
In late '78, or maybe early '79, the exact date is lost in the mists of time, I heard Crespin sing Nuits D'ete at BAM, part of an all Berlioz program conducted by Sarah Caldwell. Crespin was in town for Carmelites at the Met. She sang a good chunk of Dido's music from Troyens as well, and as an encore Habanera of course. I had only a vague idea who the lady was going in, and was just beginning to appreciate great singing, but the minute she opened her mouth I knew I was hearing something very special. I'll never forget her bearing either, so regal. She made her first entrance like visiting royalty, which in a way of course she was.
Many years ago, I heard Ms Norman perform, in the same broadcast (BBC) Brahms Alto Rhapsody and The Poulenc Gloria! A tremendous honour!! Breathtaking! Also, in the Gloria, I heard Joan Rodgers, still a student (RNCM.,) sing the most ethereal performance of this that I have ever heard!I It so made me want to hear her in the Strauss Four Last Songs! Happy Days :)
So many great recordings, but I particularly like Eleanor Steber and Mitropoulos. She practically sets fire to your CD player in the climax of ' Spectre de la rose' is stunning in 'L'absence' and so moving in ' Au Cimetiere.' There is a feeling of immediacy , spontaneity about the recording and Mitropoulos understood when to allow Steber to linger on a phrase while keeping the sense of flow. Steber had something very special in the music of Berlioz I think , as she did in Mozart and Strauss. I believe this was one of the first , perhaps even the first Les Nuits D'Ete complete to be recorded. I've shared my views with American musician friends / colleagues . We had an interesting discussion. They feel that Steber is frequently overlooked in the USA because she was a homegrown/ trained American singer, but as I said to them we hear singing of this calibre so rarely , if ever, anywhere these days. It is worth celebrating.
Thank you for posting this! I’m performing Les Nuits D’été for a competition and it was great to hear about the different recordings!
Good luck!!
My two to-go-for versions of Nuits are modern: The Veronique Gens is intimate and chamberlike with great immediacy, and the best is probably (IMO) the late Hunt-Libereson, done live on 19th century instruments / replicas. A great recording. Otherwise I'm into Danco for authenticity and Crespin (though not the vilanelle, the originaltonart was not for her).
your interpretation of Villanelle eclipses all the others !! 😀. Great Jessye Norman rememberance...Great video that gives the full picture. Crespin still rules, every word is clear
Thank you for showing the Danco box. You are rapidly draining my bank account! I have loved her accounts for years.
Love your singing. Bravo! Great recommendations. Frederica von Stade was an American who was attractive, popular, and ingratiating (especially with the American public) and that didn't translate well to the "serious" classical world. Hence, she was underrated. The Brits can be so snooty. Speaking of Brits, they pushed Janet Baker SOOOOOOO much that people eventually got tired of her and sought out alternatives to her performances. Just being different from Baker became an attribute. But as Robert Graves once said of Shakespeare, "Despite all those people who say so, he really was very good." And how could you not love Ameling on these? Another perfect match of voice and material. But Crespin was born to sing these...and she did.
Jessye... Another box we desperately need! Thanks for the suggestions, especially Ameling and Danko
I saw Ameling giving conservatory students a masterclass in Faure songs. She spent a lot of time getting them to make the words intelligible without losing the line of the melody. You can hear her attentiveness to both aspects of singing in everything she did. And I share your opinion of the Crespin recording! (but I like Leontyne Price, too).
When I was 7 or 8, I remember my mom cutting my hair in the kitchen when my dad walked in with his new Dimensions in Dynagroove sampler LP. First up was the Villanelle (Leontyne Price and Fritz Reiner). I loved it immediately and kept interrupting my hair cut to play it again. So as a teenager, Les Nuits d’Ete was one of my first purchases. What a disappointment! So dreary after the Villanelle! To this day, I’ve never made it all the way through the piece. In short, Dave, I wholeheartedly agree with your assessment.
Yes, I get the point, but "Spectre de la Rose" is the incontestable masterpiece of music and poetry and Crespin's voice. So don't stop until after no. 2.
Thank you for recommending the Ely Ameling with SFO. I found a used copy and love it. The voice, orchestral balance, and recording clarity are wonderful!
So glad you enjoyed it and had the kindness to let me know! Thank you.
I know exactly what you mean by the direct and intimate delivery of Elly Ameling. I'm eager to hear her Scheherazade, which will probably be the very first French I've heard her sing. Loved your Jesseye Norman story. I did not have a personal exchange with her, but I did see her in recital in Berkeley in the early 80's, right after her album of Schubert and Mahler songs came out. (Remember the hit single from that was "Der Zwerg.") She had yet to become a superstar, and the ticket sales were so modest that the audience was ushered, at her insistence, from Zellerbach Hall to a small recital hall elsewhere on the campus. And yes, her entrance was unforgettable, because none of us knew what a giant she was. Now my favorite part of this non-story: her accompanist was Calvin Simmons. May God rest his soul, what a loss his early death was. Did you ever have contact with him? ALSO: Thank you for recognizing Frederica von Stade!!
I'm sorry I had no contact with Simmons, but I do have fond memories of concerts at Zallerbach, including The English Concert with Pinnock playing Bach.
The guy with that Jessye Normanesque delivery who did those TV ads for the records of tunes by the GREAT MASTERS that became popular songs was yet another John Williams, in this case the veteran British character actor who was in a million things, including as the Scotland Yard inspector in Dial M for Murder.
Thank you for that tidbit.
What a beautiful voice you have!
Your singing reaches new heights, bravo!
I took lessons.
Jessye N's recording here was my first experience with this wonderful, wonderful music; and between it and Kiri Te K's which I dearly love also, this marvelous music has been with me for several decades. An aside - a friend who is also a singer/pedagogue was once at a dinner (in Amsterdam?) honoring Jessye -- tells the story of how JN got stuck in her chair, and how it took several people to free her; all the while Jessye was laughing, took it all in stride. What an honestly, being herself person she was. Anyways, Many Thanks for your several suggestions for these works, which I will get with forthwith !!
Sweet Jessie Norman anecdote. Shocked you dont love Les Nuite d’Éte. Do you know The Death of Ophélie ?(!) - so touching when you think it (at least tacitly) written for poor Harriet Smithson. Wonderful commentary
I had the privilege of attending a master class Crespin gave on French style, back in the early 80's. When someone asked her if she could name any currently active French singers worthy of emulation, she replied (avec un soupir triste) that there was hardly anyone left who really knew how to sing French properly, but she did mention Jose van Dam (who is Belgian). By that time, years of chain-smoking Gauloises, or whatever her brand was, had lowered her speaking voice to a sepulchral bass-baritone.
One of the Poulenc songs she does on the disc you reviewed is "Hotel", which ends with the delicious line: "je ne veux pas travailler, je veux fumer" -- which, of course, she delivers impeccably.
And that was forty years ago... wow. By the way, I recently heard José van Dam saying, in an interview, that French is the most difficult language to sing (because of all the diphtongs: -eu, -on, -ain, -an)
Suggestion: A survey of Lili Boulanger's recordings, especially Clairières dans le ciel
Loved your rant about pronunciation of names, so I'm hesitant to leave this comment... but I figure it's a bit of worthless trivia: I had a conversation with Frederica von Stade about twenty-five years ago and she insisted that it was pronounced 'vaughan stade' not 'fon Schtade.' She explained, "People think I'm this German aristrocrat, but i'm really from New Jersey!"
I knew that one, but the German sounds so much better. She learned to live with it. Her friends just called her "Flicka."
Funnily enough I bought the crespin version recently and the booklet was also incorrectly printed. I got Beethoven and Schubert songs instead! I managed to get a replacement copy though.
Victoria de los Angeles!
Asie! Asie! Asie!!!!
Very nice review! How about Maggie Teyte? There is authentic French singing for you (even though she is not French).
that villanelle knocked my socks off david #whew
It's just as well for Danco, Crespin et al that he never recorded it.
I love your reviews, Dave. The anecdotes alone are worth the price of admission. I know Ms Norman's voice was enough to make you (or rather me) crawl across hot coals to hear, I didn't like her in these. Too statuesque, too goddess looking down from Mount Olympus for my tastes. I am, however, completely in agreement about Baker and Crespin. I never want to choose between the two because why would you? I am just grateful that both these discs exist.
That Rossetti anecdote smells apocryphal, but I won’t trouble you for a footnote
Smart move.
FLASH: Fredericka von Stade has just been inducted into the Opera Hall Of Fame 2024
Is that in Cooperstown too?
virtuoso connoisseurship
Dear Dave I really enjoy your comments. I completely agree that Crespin/Ansermet is a marvelous recording, in my view the most atmospheric but what about Steber/Mitropoulos? I think that it belongs to the top interpretations of the nuits. Don't you? Greetings, Dimitris
Not really, but perhaps I should go back and have a listen.
@David Hurwitz What is your opinion of Ameling's Les nuits d'été with Robert Shaw on Telarc?
Very beautiful too, but I wish we could get them together!
The Crespin Originals is a reissue of the Decca Legends release from 1999. THAT one has the the lyrics with translations.
Yes, I have that one too.
My Decca (© 2006) has the correct texts, essay, and translations. "Der Geist der Rose," anyone?
A hilarious denigration of Nuits, one of my Fav. pieces. IMO Baker's Crespin's expression (and enunciation!) are superior to Crespin's. I agree re order and Ameling