Valentina Coladonato & Claudio Proietti - Poulenc: Mélodies 1939-1961 (2019)
BAND/ARTIST: Valentina Coladonato, Claudio Proietti
- Title: Poulenc: Mélodies 1939-1961
- Year Of Release: 2019
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 01:17:37
- Total Size: 258 mb
- WebSite: Album Preview
Tracklist
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01. Calligrammes, FP 140: I. L'Espionne
02. Calligrammes, FP 140: II. Mutation
03. Calligrammes, FP 140: III. Vers le sud
04. Calligrammes, FP 140: IV. Il pleut
05. Calligrammes, FP 140: V. La grâce exilée
06. Calligrammes, FP 140: VI. Aussi bien que les cigales
07. Calligrammes, FP 140: VII. Voyage
08. 2 Poèmes de Louis Aragon, FP 122: I. C
09. 2 Poèmes de Louis Aragon, FP 122: II. Fêtes galantes
10. Le travail du peintre, FP 161: I. Pablo Picasso
11. Le travail du peintre, FP 161: II. Marc Chagall
12. Le travail du peintre, FP 161: III. Georges Braque
13. Le travail du peintre, FP 161: IV. Juan Gris
14. Le travail du peintre, FP 161: V. Paul Klee
15. Le travail du peintre, FP 161: VI. Joan Miró
16. Le travail du peintre, FP 161: VII. Jacques Villon
17. Dernier poème, FP 163
18. La fraîcheur et le feu, FP 147: I. Rayon des yeux
19. La fraîcheur et le feu, FP 147: II. Le matin les branches attisent
20. La fraîcheur et le feu, FP 147: III. Tout disparut
21. La fraîcheur et le feu, FP 147: IV. Dans les ténèbres du jardin
22. La fraîcheur et le feu, FP 147: V. Unis la fraîcheur et le feu
23. La fraîcheur et le feu, FP 147: VI. Homme au sourire tendre
24. La fraîcheur et le feu, FP 147: VII. La grande rivière qui va
25. 3 Chansons de Federico Garcia Lorca, FP 136: I. L'enfant muet
26. 3 Chansons de Federico Garcia Lorca, FP 136: II. Adeline à la promenade
27. 3 Chansons de Federico Garcia Lorca, FP 136: III. Chanson de l'oranger sec
28. La courte paille, FP 178: I. Le sommeil
29. La courte paille, FP 178: II. Quelle aventure!
30. La courte paille, FP 178: III. La reine de coeur
31. La courte paille, FP 178: IV. Ba, be, bi, bo, bu
32. La courte paille, FP 178: V. Les anges musiciens
33. La courte paille, FP 178: VI. Le carafon
34. La courte paille, FP 178: VII. Lune d'avril
35. Les chemins de l'amour, FP 106
36. Fiançailles pour rire, FP 101: I. La dame d'André
37. Fiançailles pour rire, FP 101: II Dans l'herbe
38. Fiançailles pour rire, FP 101: III. Il vole
39. Fiançailles pour rire, FP 101: IV. Mon cadavre est doux comme un gant
40. Fiançailles pour rire, FP 101: V. Violon
41. Fiançailles pour rire, FP 101: VI. Fleurs
42. La Dame de Monte Carlo, FP 180
Poulenc once declared that ‘the musical transposition of a poem must be an act of love, not a marriage of convenience.’ By the age of four he was already able to recite Mallarmé’s Apparition by heart, and while still very young he made his first efforts at setting verses to music. He loved listening to poets read their own work, and he was a voracious reader, who saw his purpose as a composer to embellish to enrich but never to obscure the words or their meaning.
Poulenc loved singers and good singing as much as poetry. All these cycles were written with particular artists in mind; several of them for his life partner, the baritone Pierre Bernac, but he also worked very closely with Clare Croiza and Denise Duval, among others. Thus his vocal lines reflect their individual personalities while being couched in his own, very singable, jazz-inflected idiom.
Valentina Coladonato has chosen a path less travelled through Poulenc’s song oeuvre, avoiding the Chansons villageoises and Air chantés. Yet in La Fraîcheur et le feu, setting Poulenc’s contemporary Paul Eluard, we find an intensity and urgency of expression to rival his masterpiece, the Dialogues of the Carmelites. Motifs from the opera recur in another Eluard cycle, Le travail du peintre, which addresses seven modern painters in turn from Picasso to Villon.
A bittersweet air lingers over the Dernier poème by Desnos, Aragon’s C and the monologue La dame de Monte Carlo; but his extrovert, amusing music-hall side comes to the fore in Les chemins de l’amour, based on Jean Anouilh’s Léocadia and dedicated to Yvonne Printemps, who was a singer of light music. Even within the same cycle there are contrasting moments that eloquently illustrate Poulenc’s own artistic credo: ‘My music is my portrait’.
A specialist in early and new music, the soprano Valentina Coladonato has worked with conductors including Riccardo Muti and Claudio Abbado. She and Claudio Proietti have also recorded the Shakespeare Sonnets of Mario Castelnuovo-Tedesco.
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01. Calligrammes, FP 140: I. L'Espionne
02. Calligrammes, FP 140: II. Mutation
03. Calligrammes, FP 140: III. Vers le sud
04. Calligrammes, FP 140: IV. Il pleut
05. Calligrammes, FP 140: V. La grâce exilée
06. Calligrammes, FP 140: VI. Aussi bien que les cigales
07. Calligrammes, FP 140: VII. Voyage
08. 2 Poèmes de Louis Aragon, FP 122: I. C
09. 2 Poèmes de Louis Aragon, FP 122: II. Fêtes galantes
10. Le travail du peintre, FP 161: I. Pablo Picasso
11. Le travail du peintre, FP 161: II. Marc Chagall
12. Le travail du peintre, FP 161: III. Georges Braque
13. Le travail du peintre, FP 161: IV. Juan Gris
14. Le travail du peintre, FP 161: V. Paul Klee
15. Le travail du peintre, FP 161: VI. Joan Miró
16. Le travail du peintre, FP 161: VII. Jacques Villon
17. Dernier poème, FP 163
18. La fraîcheur et le feu, FP 147: I. Rayon des yeux
19. La fraîcheur et le feu, FP 147: II. Le matin les branches attisent
20. La fraîcheur et le feu, FP 147: III. Tout disparut
21. La fraîcheur et le feu, FP 147: IV. Dans les ténèbres du jardin
22. La fraîcheur et le feu, FP 147: V. Unis la fraîcheur et le feu
23. La fraîcheur et le feu, FP 147: VI. Homme au sourire tendre
24. La fraîcheur et le feu, FP 147: VII. La grande rivière qui va
25. 3 Chansons de Federico Garcia Lorca, FP 136: I. L'enfant muet
26. 3 Chansons de Federico Garcia Lorca, FP 136: II. Adeline à la promenade
27. 3 Chansons de Federico Garcia Lorca, FP 136: III. Chanson de l'oranger sec
28. La courte paille, FP 178: I. Le sommeil
29. La courte paille, FP 178: II. Quelle aventure!
30. La courte paille, FP 178: III. La reine de coeur
31. La courte paille, FP 178: IV. Ba, be, bi, bo, bu
32. La courte paille, FP 178: V. Les anges musiciens
33. La courte paille, FP 178: VI. Le carafon
34. La courte paille, FP 178: VII. Lune d'avril
35. Les chemins de l'amour, FP 106
36. Fiançailles pour rire, FP 101: I. La dame d'André
37. Fiançailles pour rire, FP 101: II Dans l'herbe
38. Fiançailles pour rire, FP 101: III. Il vole
39. Fiançailles pour rire, FP 101: IV. Mon cadavre est doux comme un gant
40. Fiançailles pour rire, FP 101: V. Violon
41. Fiançailles pour rire, FP 101: VI. Fleurs
42. La Dame de Monte Carlo, FP 180
Poulenc once declared that ‘the musical transposition of a poem must be an act of love, not a marriage of convenience.’ By the age of four he was already able to recite Mallarmé’s Apparition by heart, and while still very young he made his first efforts at setting verses to music. He loved listening to poets read their own work, and he was a voracious reader, who saw his purpose as a composer to embellish to enrich but never to obscure the words or their meaning.
Poulenc loved singers and good singing as much as poetry. All these cycles were written with particular artists in mind; several of them for his life partner, the baritone Pierre Bernac, but he also worked very closely with Clare Croiza and Denise Duval, among others. Thus his vocal lines reflect their individual personalities while being couched in his own, very singable, jazz-inflected idiom.
Valentina Coladonato has chosen a path less travelled through Poulenc’s song oeuvre, avoiding the Chansons villageoises and Air chantés. Yet in La Fraîcheur et le feu, setting Poulenc’s contemporary Paul Eluard, we find an intensity and urgency of expression to rival his masterpiece, the Dialogues of the Carmelites. Motifs from the opera recur in another Eluard cycle, Le travail du peintre, which addresses seven modern painters in turn from Picasso to Villon.
A bittersweet air lingers over the Dernier poème by Desnos, Aragon’s C and the monologue La dame de Monte Carlo; but his extrovert, amusing music-hall side comes to the fore in Les chemins de l’amour, based on Jean Anouilh’s Léocadia and dedicated to Yvonne Printemps, who was a singer of light music. Even within the same cycle there are contrasting moments that eloquently illustrate Poulenc’s own artistic credo: ‘My music is my portrait’.
A specialist in early and new music, the soprano Valentina Coladonato has worked with conductors including Riccardo Muti and Claudio Abbado. She and Claudio Proietti have also recorded the Shakespeare Sonnets of Mario Castelnuovo-Tedesco.
Year 2019 | Classical | FLAC / APE
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