Bijoux Perdus

After her triumph with the album Offenbach Colorature (ALPHA437), Jodie Devos has chosen to follow in the footsteps of one of her compatriots, the Belgian coloratura soprano Marie Cabel (1827 -1885), who at the age of twenty-six scored a phenomenal success in Adolphe Adam’s opéra-comique Le Bijou perdu , which she premiered in Paris. She then took on a more dramatic role in Halévy’s Jaguarita l’Indienne , whose great Invocation with chorus (‘À moi ma cohorte!’) again hit the bullseye in a run of 124 performances over just a few months. Cabel enjoyed one hit after another, in Auber’s Manon Lescaut and La Part du diable , Meyerbeer’s L’Étoile du Nord and Le Pardon de Ploërmel , Victor Massé’s Galathée , and Le Songe d’une nuit d’été by Ambroise Thomas, who in 1866 gave her the biggest role of her career: Philine in Mignon , based on Goethe. In partnership with the musicologists of the Palazzetto Bru Zane, who have resurrected and edited all these unjustly forgotten rarities, and Pierre Bleuse conducting the Brussels Philharmonic and the Flemish Radio Choir, Jodie Devos pays tribute to this star of the nineteenth century, whose audacity and sense of mischief she undoubtedly shares!

Emma Eames - The Complete Victor Recordings, 1905-1911 (1993) {Romophone 81001-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 426 Mb | MP3 @320 -> 356 Mb
Full Artwork @ 600 dpi (jpg) -> 43 Mb | 5% repair rar
© 1905-11, 1993 Victor / Romophone | 81001-2
Classical / Vocal / Historical

Before I start to write the review of Emma Eames complete victor recordings, I would like to say few words about her biography. Emma Eames(1865-1952) a native from Bath, Maine, made her debut on March 13, 1889 at the Paris Opera as Juliette in Gounod's opera Romeo et Juliette to Jean de Reszke's Romeo and became an overnight sensation. It is amazing,because she had no previous Stage experience. She later wrote, 'It was curious experience to go to the Opera as nobody, and to find oneself the next day the talk of two continents'.

The masterpiece of French opera – Gounod’s ‘Faust‘ – still has surprises in store for us. Originally conceived in the spirit of opéra-comique, the 1859 score alternated between spoken dialogue and music, intermingling witty comedy and Romantic pathos. It is that ‘first Faust’ that the Palazzetto Bru Zane reveals in this recording, and particularly the many numbers that were subsequently deleted or altered.