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Ach Ich Fuhl S Natalie Dessay Vienna

In the season of celebration a critic may lead the revels or cast a shadow like the uninvited wedding-guest. In the present instance I can't quite wholeheartedly appear as the first and am unwilling to perform as the latter. Dessay is a singer of real merit, distinguished among her present-day colleagues and, as Michel Parouty's notes remind us, in line with some notables of the past. I don't find a personal timbre that might bring a thrill of recognition such as often arises out of a chance encounter with a great singer. Nor, in the flesh or to some extent on records, have I found a purity, warmth or (complete) steadiness of tone to draw me into its orbit and place it (let's say) among these I have loved.

But, make out a form where separate items in the high sporano's attainments are listed and I'd probably have to tick every box. Range, flexibility, intonation, precision, scale-work, trills, staccati: all of these. There is an imaginative care, too, which looks for poetry in the once-hackneyed songs of Dinorah and Lakmé. Juliette's waltz-song is animated with a youthful zest which knows that excitement may lie in the shade as well as in the light. Lucie's madness (for this is the French version) derives its effectiveness from keenly observed hints in the score interpreted with a full exercise of every technical and emotional faculty.

In the three Mozart arias she is particularly admirable. The Queen of Night imposes a glittering, fearsomely precise authority; her daughter (moved along at a quickish tempo) grows into womanhood and turns in dejection towards a kindly death; and in the concert aria Alceste addresses the people of Thessaly with passion, hitting squarely the G in alt, the highest note Mozart wrote for the voice. Rachmaninov's Vocalise muses luxuriously, and Bernstein's Cunegonde brings the unexpected revelation of comic grandeur.

The DVD shows her also to be a producer's dream, acting out his liveliest fancies, and singing just as well whether running about, lying down or copulating with a fly. She seems infinitely adaptable. For instance, in one production of Les contes d'Hoffmann, the doll is all jerky mechanics, in another (the song taken adagio) she appears to be comforting the inmates of an asylum, and in a third she is a diminutive Shirley Temple figure backed by six outsize replicas. There are two Zerbinettas, with only their notes and bare midriffs in common. The mad scenes of Lucie and Ophélie are undoubted triumphs but take an inordinately long time. “Glitter and be gay”, from the Glyndebourne celebration of 1997, is even better seen than merely heard, and so, according to taste (for this contains the copulatory matter) is the mouche duet from Orphée aux enfers, with the finale thrown in for good measure.

Natalie Dessay - (The) Miracle of the Voice

Philippe Cassard has established an international reputation as concerto soloist, recitalist, and chamber musician since giving a joint recital with Christa Ludwig in Paris in 1985. The same year, he was finalist at the Clara Haskil Piano Competition; three years later, he won first prize at the Dublin International Piano Competition.

Mr. Cassard has performed as soloist with the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, BBC Philharmonic, BBC National Orchestra of Wales, Orchestre National de France, and many more. He regularly visits China, Australia, South America, and Canada, and has worked with many conductors, including Sir Neville Marriner, Jeffrey Tate, Vladimir Fedoseyev, Yan Pascal Tortelier, Raymond Leppard, Charles Dutoit, Armin Jordan, Marek Janowski, Emmanuel Krivine, and Thierry Fischer.

Mr. Cassard's performance of the complete piano works of Debussy (four recitals in a single day)-presented in London (Wigmore Hall), Dublin, Paris, Lisbon, Sydney, Singapore, and Tokyo-received extremely enthusiastic press and media coverage. Released by Decca, the collection was awarded the Grand Prix du Disque in 1994.

Mr. Cassard also performs a large repertoire of chamber music, and has appeared with such artists as Angelika Kirchschlager, Wolfgang Holzmair, Cédric Pescia, Paul Meyer, David Grimal, Anne Gastinel, Matt Haimovitz, and Isabelle Faust; as well as with the Ebène, Modigliani, Takács, Auryn, Vanbrugh, Danish, and Chilingirian string quartets.

His recording of Schumann's Humoreske and Fantasiestücke was named Editor's Choice by Gramophone. Mr. Cassard's other releases (Schubert's Impromptus and Brahms's Klavierstücke, Op. 116-119) have been received very warmly. His recent Schubert recording (including the Piano Sonata in
A Major, D. 959, and four-hands piano music) with Swiss pianist Cédric Pescia for La Dolce Volta was awarded Classica's 2014 Choc de l'année.

Mr. Cassard served as artistic director of the Nuits Romantiques du Lac du Bourget festival from 1999 to 2008. Since 2005, he has presented more than 400 live programs dedicated to piano interpretation on France Musique radio. He has written an essay on Schubert, and a book on cinema and music.