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Emmanuel Villaume - Massenet: Chérubin (2006)

Emmanuel Villaume - Massenet: Chérubin (2006)
  • Title: Massenet: Chérubin
  • Year Of Release: 2006
  • Label: Dynamic
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 1:59:30
  • Total Size: 515 MB
  • WebSite:
Tracklist:

Disc 1

1. Michelle Breedt – Overture (06:38)
2. Michelle Breedt – Act I: Servantes, bonnes et lingeres (The Philosopher, Servants, Maids) (03:48)
3. Michelle Breedt – Act I: Vive Cherubin! Ma parole (The Duke, The Count, The Baron, The Philosopher, Nina) (02:32)
4. Michelle Breedt – Act I: Il est charmant (Nina, The Philosopher) (02:26)
5. Michelle Breedt – Act I: Apeuree Mon tuteur! (Nina, The Duke, The Baron, The Philosopher) (01:23)
6. Michelle Breedt – Act I: Je suis gris! (Cherubin, The Duke, The Baron, The Philosopher) (03:53)
7. Michelle Breedt – Act I: Accourez voir, don Sanche! (The Philosopher, Cherubin, The Countess, The Baroness, Nina) (03:06)
8. Michelle Breedt – Act I: Bravo! Bravo! (Pastorale Fete, Cherubin, The Duke, The Baron, The Philosopher) (05:21)
9. Michelle Breedt – Act I: A cette joie, a ce printemps (The Philosopher, Cherubin) (05:16)
10. Michelle Breedt – Act I: Ou Cherubin se cache-t-il, le savez-vous? (The Count, The Philosopher, The Countess, Nina) (02:14)
11. Michelle Breedt – Act I: Lorsque vous n'aurez rien a faire (Nina, The Count, The Countess, The Philosopher) (04:39)
12. Michelle Breedt – Act I: Philosophe! (Cherubin, The Philosopher) (01:44)

Disc 2

1. Michelle Breedt – Act II: Entr'acte-manola (02:11)
2. Michelle Breedt – Act II: Une chambre! (Travellers, Servants, Maids, The Innkeeper, The Countess, The Baroness, The Count, The Baron, The Duke) (05:29)
3. Michelle Breedt – Act II: Le vin rend gai, l'amour ren tou (Captain Ricardo, Manolas, Officers, The Countess, The Innkeeper, The Baroness, One Girl, (03:20)
4. Michelle Breedt – Act II: Ne mettez pas flamberge au vent (Cherubin, Ricardo, Manolas, Ensoleillad, The Very Big Officer) (03:34)
5. Michelle Breedt – Act II: J'ai peur! (Ensoleillad, Ricardo, Cherubin, Manolas, The Philosopher, The Innkeeper, Officers) (04:25)
6. Michelle Breedt – Act II: Ah! Buvons pour que la joie (Ensoleillad, Cherubin, Ricardo, Manolas, Officers) (03:20)
7. Michelle Breedt – Act II: Madame, en votre appartement (Innkeeper, Cherubin, Ricardo, Manolas, Ofiicers, Ensoleillad, The Philosopher) (04:02)
8. Michelle Breedt – Act II: Une femme! Ce mot me rend tout attendri … (Cherubin, The Philosopher) (02:44)
9. Michelle Breedt – Act II: Qui parle dans la nuit confuse? (Ensoleillad, Cherubin) (07:44)
10. Michelle Breedt – Act II: Eh bien? … (The Count, The Duke, The Baron, Cherubin, Ensoleillad) (05:45)
11. Michelle Breedt – Act II: Du bruit, descends (Ensoleillad, The Countess, Cherubin, The Baroness, The Baron, The Duke, The Count, The Innkeeper, The (03:22)
12. Michelle Breedt – Act III: Entr'acte (02:52)
13. Michelle Breedt – Act III: Cherubin! Un momen! (The Philosopher, Cherubin) (03:37)
14. Michelle Breedt – Act III: Que ta mort serait abominable! (The Philosopher, Cherubin, The Innkeeper, The Baroness, The Countess, The Baron, The Coun (04:31)
15. Michelle Breedt – Act III: Vive amour qui reve (Ensoleillad Voice, Cherubin, The Crowd) (03:56)
16. Michelle Breedt – Act III: Par pitte! Ne pars par! (Cherubin, Ensoleillad, The Duke, The Crowd, The Philosopher) (05:44)
17. Michelle Breedt – Act III: Nina! Cherubin! (Cherubin, Nina, The Duke, Ricardo, The Philosopher) (09:32)

Dynamic, which has already published in CD and DVD other neglected Massenet works, now has the pleasure to offer music lovers another rarity, this Chérubin recorded live in Cagliari in the fall of last year. The old Mozartian Cherubino of Le nozze di Figaro is no longer the young lad in his first naive contacts with women: his age moved on from 13 to 17 years and, of course, takes on more adolescent connotations. Massenet brings these aspects out well as he characterises Chérubin with vocal scoring that favours ample, intensely cantabile phrases, with leaps towards the acute register that give full vent to the lyrical soprano voice, with moments of sudden emphasis and equally rapid disappointments - a real tempest of hormones, light years away from the Voi che sapete of Mozart’s page boy. The orchestration, too, is noteworthy (not so grandiose as usual, lighter and more attentive to detail), some eighteenth-century echoes, various Mozart references, and Italian but especially Spanish accents which ”colour” the score at several points.


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