She has recorded both the original French and Italian versions of Lucia di lammermoor. Her list of awards also includes the Opera news Award and the laurence Olivier Award (both 2008 and her designation as a chevalier of the legion of Honor (2011). In 2013, dessay retired from live operatic performance (her final role was as Massenet 's Manon in toulouse, france). But she has continued to record, taking on several projects beyond the scope of opera (something she had previously avoided). Her 2013 release, entre elle et lui, was a duo project with veteran French film composer and jazz pianist Michel Legrand. In 2017, dessay released Pictures of America, her first English-language album, featuring a program of selections from the Great American Songbook.
Natalie dessay on Amazon
Strauss ' rarely heard die schweigsame Frau (The silent Woman) on her home stage in vienna, stravinsky 's Nightingale at assignment the Châtelet under. Boulez, and Ophelia in, thomas ' hamlet at the geneva opera. Since then she has added. Offenbach 's Orphée aux summary Enfers, la sonnambula, lucia di lammermoor, massenet 's Manon, and Susanna in le nozze di figaro to her repertory. She has made a specialty. Bellini and, donizetti heroines, excelling in roles both comic (la fille du regiment) and tragic (Lucia). Her performances in those roles were featured in live from the met Simulcasts in 20, respectively. Her recital album, vocalises, won a diapason d'Or award and a classique d'Or rtl in 1998. Despite the need for vocal cord surgery, which put her career on hold from 20, emi 's recording of lakmé with, michel Plasson conducting and, dessay in the title role won the award for French Recording of the year at the victoires de la musique. Other releases include Offenbach 's Orphée and a mozart aria disc on Virgin.
In the same year she joined the roster of the vienna Staatsoper with a triumphant performance as Blondchen. She sang there in an acclaimed production of Tales of Hoffmann with. Plácido domingo, and student as Sophie in, strauss ' der Rosenkavalier opposite, anne sophie von Otter. Strauss opera was the vehicle for her debut at the metropolitan Opera in New York in 1994, where she sang fiakermilli in Arabella. Also that year, she added to her credits the queen of the night (. Mozart 's Magic Flute) in the aix-en-Provence festival, and the title role. Delibes ' lakmé at the Opéra-comique in Paris. Dessay enlarged the scope of her repertory in the mid- to late '90s, singing.
Natalie dessay free internet Radio slacker Radio. After winning the International mozart Competition of the vienna State Opera in 1991, she received invitations for concert and recital appearances, most notably an all. Mozart recital on the stage of la scala. She also made a recital recording with. Emi classics of, mozart arias that was an extraordinary success. Quickly engaged by major opera houses around the world, she sang Blondchen in die entführung aus dem Serail, madame herz in Der Schauspieldirektor, the title role in zaïde, adele in die fledermaus, and Zerbinetta in Ariadne auf Naxos. In 1992, dessay debuted as Olympia in, offenbach 's Tales of Hoffmann, and in 1993, she sang at the opening of the new lyon Opéra.
L o delibes: lakm - classic
Natalie, dessay has enjoyed a long and exceptional career, constantly diversifying and renewing her repertoire from dazzling coloratura to tragic lyric detailing roles, from the fireworks of mozarts Magic Flute and Donizettis daughter of the regiment to the most heart-rending and fragile melodies françaises. Born in lyon, she discovered her voice in Bordeaux while pursuing her dream of becoming a dancer. In 1992 she made her debut at LOpéra bastille singing the role of Olympia in Offenbachs Tales of Hoffmann. Since then she has appeared regularly on many of the worlds leading opera stages, among them LOpéra national de paris, royal Opera house covent Garden, metropolitan Opera new York, theater an der wien staatsoper vienna and la scala milan, winning universal international acclaim for her. Natalie, dessay is a regular collaborator with Michel Legrand and together they have performed all over the world.
She is also a committed recital homework singer, frequently performing French melodies and German lieder with laurent naouri, maciej pikulski or Philippe cassard. In 2015 she revealed new depths of dramatic and rhetorical insight, making her debut as a narrator in performances of Howard Barklers monologue und at the Théâtre Olympia in tours, and in Paris at the Théâtre de lAthénée. The project was so successful that it was revived at the Théâtre des Abbesses in Paris in may 2016. Natalie, dessay is the only French female artist to be awarded the honorary rank of Kammersängerin by the vienna Staatsoper. Natalie, dessay (born Nathalie dessaix, in lyon) is a french opera singer who had a highly acclaimed career as a coloratura soprano before leaving the opera stage on She dropped the silent "h" in her first name in honor. Natalie, wood when she was in grade school and subsequently simplified the spelling of her surname.
An uncommonly human queen of the night in die zauberflöte, she has sparkled lovingly in lakmé and descended into harrowing madness as Ophélie and Lucia di lammermoor; and just as she has brought Manon to vivid life, she has experienced all violettas passion and pain. With her shining eyes, dessay is a tiny slip of woman who radiates charisma. She has often taken a stand against operatic convention and diva clichés, impudently daring to talk about the trials of her profession, including stagefright and the frantic demands of juggling the roles of star, woman and mother. Then there is her recurring frustration at the essential mismatch between a dramatic temperament suited to the great tragic heroines and a voice predisposed to the roles of singing doll or willing victim. But though her voice has always been light, it has never been lacking in juice, and the purity of her top notes cleaving like daggers her quicksilver virtuosity, and her supreme musicianship have given her the power to cast an irresistible spell. It took years for her to accept herself for what she had always been.
In 1997, when she told an interviewer that There is more to life than top notes, people thought she was being precious; she was in fact expressing profound disquiet. Over the course of a career that imposed operations on her vocal cords in 20, dessay has come to the conclusion that the interplay of physiological skills and characterisation is as about as thrilling as something can get. A perfectionist who is also prone to impulse, this great French singer has brought something new to her roles through her still unfulfilled passion for the straight theatre, an art form that remains a defining force for her: it was, after all, as a student. She has now succeeded in resolving the dichotomies within her, uniting her personality and her voice by choosing to move away from opera. Since 2013 she has reinvented herself with recitals of French art song (notably debussy with the pianist Philippe cassard with popular song and musicals (above all in her collaboration with the pianist and composer Michel Legrand and even with Brazilian music (in the company. Her commitment to each genre has been characteristically unreserved. Of one thing we can be sure: Natalie, dessay, in all her infinite artistic variety, has many more delicious surprises in store. all my albums. A consummate and many-faceted artist, soprano.
Lakm - wikipedia, la enciclopedia libre
Somewhere over the working rainbow (from "The wizard of. Les moulins de mon coeur (from the movie the Thomas Crown Affair). Chanson de delphine (from the movie les Demoiselles de rochefort). What is this thing called love? Bebê, letter this new collection showcasing 20 years of recordings from this most versatile of artists including classical, opera and songs from musicals includes previously unreleased track bebe. Natalie, dessay defies categorisation. Over a 20-year career the multi-faceted soprano has risen to the most diverse challenges, brilliantly fleshing out the great Romantic coloratura roles, savouring the delights of the baroque, and moving with equal aplomb from comic opera to bel canto and from French art song.
427: "Et incarnatus est" (Soprano I). No, no, che non sei capace,. Ein deutsches Requiem,. Ihr habt writing nun Traurigkeit. Carmina burana-iii-cours d'amour : In Trutina. Bist du bei mir. 5: Aria (Cantilena). Les eaux de mars.
lob und Preis mit Ehren"-No. 5, finale, "Alleluja!" (Soprano). Dixit Dominus: de torrente in via bibet. Madrigali guerrieri, et amorosi: Lamento della ninfa, sv 163. Mass in c minor,.
Thomas: Hamlet, Act 4: "Et resume maintenant écoutez ma chanson" (acte iv) Ophélie (extract). La sonnambula, act II: "Ah! No credea mirarti". 344/336b, Act 1 Scene 3:. 3, Arie, "Ruhe sanft, mein holdes Leben" (Zaide). Die zauberflöte : Act 1 "o zittre nicht, mein lieber Sohn" Königin der Nacht. 620, Act 2: "Der Hölle rache kocht in meinem Herzen" (Königin der Nacht).
Delibes l o (1836-1891)
Les Filles de cadix, Chanson Espagnole. Lakmé, act iii: "Tu m'as donné le plus doux rêve" (Lakmé, gerald, nilakantha). Verdi: la traviata, act 1: "È strano! È strano!.Ah, fors' è lui. Sempre libera" (Violetta). Rigoletto, act 1: "Gualtier Maldé. Caro nome" (Gilda, borsa, ceprano, coro, marullo). I vespri siciliani, act 5 Scene 2: "Mercé, dilette amiche" (Elena).