![](http://d24jnm9llkb1ub.cloudfront.net/icpn/00028948439324/00028948439324-cover-zoom.jpg)
℗ 1996 Deutsche Grammophon, Berlin
Released | July 21, 2023 |
Originated | 1996 |
Duration | 1h 02m 09s |
Record Label | Universal Music Australia Pty. |
Genre | Classical |
French Opera Arias (Kathleen Battle Edition, Vol. 4)
Kathleen Battle, Orchestre de l’Opéra national de Paris, Myung-Whun Chung
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
1.1
|
C'en est donc fait - Salut à la France
Gaetano Donizetti; Jules-Henri Vernoy de Saint-Georges; Jean Francois Alfred Bayard; Kathleen Battle; Choeurs de l'Opera Bastille; Denis Dubois; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
9:00 | |||
1.2
|
Allons, il le faut - Adieu, notre petite table
Jules Massenet; Henri Meilhac; Philippe Gille; Kathleen Battle; Choeurs de l'Opera Bastille; Denis Dubois; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
3:54 | |||
1.3
|
Ah, je veux vivre dans ce reve
Charles Gounod; Jules Barbier; Michel Carré; Kathleen Battle; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
3:45 | |||
1.4
|
Dieu! quel frisson - Amour, ranime mon courage
Charles Gounod; Jules Barbier; Michel Carré; Kathleen Battle; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
5:27 | |||
1.5
|
Je vais le voir
Hector Berlioz; William Shakespeare; Kathleen Battle; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
8:27 | |||
1.6
|
Oui! pour ce soir. Je suis Titania
Ambroise Thomas; Jules Barbier; Michel Carré; Johann Wolfgang von Goethe; Kathleen Battle; Choeurs de l'Opera Bastille; Denis Dubois; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
5:48 | |||
1.7
|
On s'amuse, on applaudit
Jacques Offenbach; Kathleen Battle; Myung-Whun Chung; Orchestre de l’Opéra national de Paris |
2:38 | |||
1.8
|
Suis-je gentille ainsi? - Obéissons, quand leur voix appelle
Jules Massenet; Henri Meilhac; Philippe Gille; Kathleen Battle; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
5:58 | |||
1.9
|
Act IV
Ambroise Thomas; Michel Carré; Jules Barbier; Kathleen Battle; Choeurs de l'Opera Bastille; Denis Dubois; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
12:24 | |||
1.10
|
Depuis le jour
Gustave Charpentier; Kathleen Battle; Orchestre de l’Opéra national de Paris; Myung-Whun Chung |
4:48 |
Kathleen Battle enraptured opera audiences of the 1980s and 1990s. Here was a lyric soprano combining unsurpassable beauty of tone with a keen musical intelligence, a way with words and a communicative warmth that drew listeners to Strauss and spirituals alike. She has the easy phrasing of a great jazz singer combined with the breath, breadth and precise projection of a trained voice. James Levine coached her at the Metropolitan Opera, and when he accompanied her at the 1984 Salzburg Festival and DG recorded the recital as Battle's debut solo album, nothing less than a phenomenon was launched. She had been admired as a gifted singer since the age of eight, and a 1985 article in Time magazine declared that she was 'the greatest lyric coloratura soprano in the world'.
Her performances at the Met of Susanna, Despina, Pamina and other lyric roles in the great Mozart operas, conducted by Levine, established her as one of the world's leading interpreters of this repertoire. Recorded near the end of her DG association, Battle and Levine recorded arias from those roles for an album which became a radiantly beautiful souvenir of an era when they formed an artistic team as celebrated and accomplished in their way as Schwarzkopf and Karajan or Nilsson and Solti. However, Battle had already recorded for several labels, and this Eloquence box uniquely brings together selected albums she made for Angel (the US branch of EMI - those which have repatriated to Universal Music Group) with the DG recitals. They include an imaginatively programmed guitar recital with Christopher Parkening and excerpts from a Messiah led by Sir Andrew Davis in Toronto.
These Handel arias feature on a new compilation within the album, 'Kathleen Battle sings Sacred Music', which also features excerpts from her appearances in Levine's DG recordings of The Creation by Haydn and the C minor Mass by Mozart, as well as Poulenc's Gloria and the 'Pie Jesu' from Fauré's Requiem. Two further albums showcase excerpts from more complete albums: one of Handel and Mozart arias, including the celebrated Semele recording with John Nelson, and another of operatic and concert arias, including a staggering 'Grossmächtige Prinzessin' (Ariadne, with Levine) and the touching songs from the Ozawa recording of Mendelssohn's A Midsummer Night's Dream. This set is an essential acquisition for all lovers of lyric soprano artistry.
48 kHz / 24-bit PCM – Universal Music Australia Pty. Studio Masters
Tracks 1-10 – contains high-resolution digital transfers of material originating from an analogue master source
Tracks 1-10 – contains high-resolution digital transfers of material originating from an analogue master source
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.83 -10.72 to -0.20 | -25.41 -31.41 to -22.17 | -20.66 -27.70 to -17.80 | 14 12 to 17 | |
1 | C'en est donc fait - Salut à la France | -0.20 | -24.40 | -19.1 | 14 |
2 | Allons, il le faut - Adieu, notre petite table | -0.70 | -27.95 | -22.3 | 17 |
3 | Ah, je veux vivre dans ce reve | -1.91 | -24.84 | -20.2 | 14 |
4 | Dieu! quel frisson - Amour, ranime mon courage | -1.27 | -22.17 | -17.8 | 12 |
5 | Je vais le voir | -0.38 | -23.62 | -19.5 | 15 |
6 | Oui! pour ce soir. Je suis Titania | -0.20 | -24.25 | -19.4 | 15 |
7 | On s'amuse, on applaudit | -10.72 | -31.41 | -27.7 | 12 |
8 | Suis-je gentille ainsi? - Obéissons, quand leur voix appelle | -0.20 | -24.92 | -20.1 | 16 |
9 | Act IV | -1.40 | -26.47 | -21.1 | 15 |
10 | Depuis le jour | -1.32 | -24.05 | -19.4 | 13 |