Ian Bostridge - Debussy, Fauré, Poulenc: Mélodies album download

However, both piano and strings are mixed so far into the background throughout the album, and Bostridge so far into the foreground, that it is hard to experience the full effect of the instrumental contributions, or any sense of unity.

Debussy, Fauré, Poulenc: Mélodies. Debussy, Fauré, Poulenc: Mélodies. EMI Music Distribution 57609.

But Bostridge’s Poulenc selections also have strengths. Bostridge’s work in the lower register at the end of In the garden of Anna sounds great, with Drake adding his accomplished playing to the almost jagged piano writing. The works of Debussy and Poulenc are quintessentially French in sound and execution: when the tempi are brisk, Bostridge and Drake are crystalline and when the tempi are slow, they produce languid, dreamy, seamless tone. The works of Faure include works for tenor and chamber ensemble and here the Belcea Quartet with Leon Bosch provide that floating though solidly formed tone that we so often associate with French orchestral works.

Fauré - Nell (uit 'Trois mélodies', op. 18). Poulenc - Deux poèmes de Louis Aragon. Poulenc - Deux poèmes de Guillaume Apollinaire. Poulenc - Tel jour, telle nuit. Berlioz - Les nuits d'été, H 81, op. 7. This concert has an intermission.

Ian Bostridge - French Song: Debussy, Fauré, Poulenc corresponds to the following genres. At the moment the tracks have the album Ian Bostridge & Julius Drake - Ian Bostridge - French Song: Debussy, Fauré, Poulenc is missing.

Claude Debussy, Faure, Francis Poulenc, Ian Bostridge, Julius Drake. Discover new music every day. Personalized feed with recommendations and new music, radio, curated playlists for every taste, easy management of your music library.

Album · 2005 · 32 Songs. By Gabriel Fauré - Belcea Quartet, Ian Bostridge, Julius Drake & Leon Bosch. 30. La Bonne chanson Op. 61: Donc, ce sera par un clair jour d'été.

Melodies by Faure, Debussy and Poulenc in outstandingly beautiful and moving performances. have given me more pleasure than any French song recital for a long time. The light and shade of the texts is realised with the smallest inflexions, with just a touch more breathiness, with tiny delays, or with a fraction more weight on a crucial consonant. Almost best of all for me, she is able to make a diminuendo on a rising phrase - an art largely lost these days where, increasingly, high equals loud. Altogether her singing is dignified without pomposity, aristocratic without.