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Chanson d'Amour

Sabine Devieilhe (soprano), Alexandre Tharaud (piano)

Awards:

Devieilhe has the ideal voice for the Ariettes oubliées, with a creamily dreamy opening to ‘C’est l’extase’. Her iridescent clarity is to the fore throughout...matched by Alexandre Tharaud’s...

Chanson d'Amour

Sabine Devieilhe (soprano), Alexandre Tharaud (piano)

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This release includes a digital booklet

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Awards:

Devieilhe has the ideal voice for the Ariettes oubliées, with a creamily dreamy opening to ‘C’est l’extase’. Her iridescent clarity is to the fore throughout...matched by Alexandre Tharaud’s...

About

Sabine Devieilhe and Alexandre Tharaud bring their customary clarity, finesse and insight to the works of four composers who defined the path of French art song or mélodie from the late 19th to the mid-20th century. In an imaginatively balanced recital, the two French luminaries perform Fauré, Debussy, Ravel and Poulenc. Their programme, built around Ravel’s Cinq Chansons populaires grecques and Debussy’s Verlaine setting Ariettes oubliées, takes up the themes of love, war and death and offers both favourite songs like Fauré’s ‘Après un rêve’ and some rarer treasures.

Contents and tracklist

No. 1, C
Track length2:41
No. 2, Fêtes galantes
Track length1:01
No. 1, C'est l'extase langoureuse (Second Version)
Track length2:45
No. 2, Il pleure dans mon coeur (Second Version)
Track length2:21
No. 3, L'ombre des arbres (Second Version)
Track length2:21
No. 4, Paysages belges. Chevaux de bois (Second Version)
Track length2:43
No. 5, Aquarelles I. Green (Second Version)
Track length2:09
No. 6, Aquarelles II. Spleen (Second Version)
Track length2:11

Spotlight on this release

Awards and reviews

Devieilhe has the ideal voice for the Ariettes oubliées, with a creamily dreamy opening to ‘C’est l’extase’. Her iridescent clarity is to the fore throughout...matched by Alexandre Tharaud’s ever-nuanced, passionately intelligent pianism...A deeply rewarding recital guaranteed to melt the heart.

Awards Issue 2020

It makes for an entertaining hour, far more varied in mood than the disc title ‘Chanson d’amour’ (after Fauré’s song) may suggest… It is a joy to hear these 29 mélodies sung so well, with superb French diction…There’s never any sense of Devieilhe pushing her light soprano; this offers a feeling of great intimacy.
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