Sandrine

The subject matter could not be different, but these two releases are extraordinarily special in their respective fields. And since both are vocal works, ergo their pairing in the interest of conserving space. But which to consider first? No disrespect is meant much less implied if we throw a chapeau in the air first for a painstaking critical edition by Jean-Christophe Keck of the libretto by Meilhac and Halévy for Jacques Offenbach’s political satire disguised as a jeu de’esprit, created for Napoleon III’s Grand Exhibition of 1867. R.D. (December 2005)

Soprano Sandrine Piau writes in the program notes that there is no narrative or theme unifying the songs on this album, only the quality they share of being evocative of something beyond themselves. The late Romantic songs are indeed understated and suggestive rather than emphatic, many written in elegiac moods of hushed happiness or subdued yearning. The centerpiece is Richard Strauss' four song cycle, Madchenblumen, written when the composer was 26, which provided Piau with the initial inspiration for this collection. It's immensely appealing, and its generous lyricism makes it a work that deserves to be widely sung and known.

After a number of appearances in Alpha productions, Sandrine Piau now joins the label for several recordings. With Chimère, she invites us on a voyage into the intimate and infinite territory of dreams. ‘Chimera: an illusory, unsatisfied quest, the graveyard of our illusions…’ She and her long standing partner, the pianist Susan Manoff, have thought up a programme combining the German lied (Hugo Wolf, one of Schumann’s Mignon songs, a scene from Goethe’s Faust by Carl Loewe), Mélodies by Debussy and Poulenc (his Banalités), and Art Songs by Barber along with discoveries of more rarely heard composers like Ivor Gurney and the Dickinson Songs of André Previn – the celebrated American conductor is less well-known for his compositions, which include this magnificent cycle written for Renée Fleming. Equally at home in French, German and English, Sandrine Piau is at the peak of her artistry. Fantoches, Clair de Lune, Solitary Hotel, Will there really be a morning?: set out for the world of dreams following this unique poetic itinerary. ‘The land of chimeras is the only one in this world worth living in’

The choral and instrumental parts for Gabriel Fauré's 1893 version of the Requiem, Op. 48, were discovered in 1969, and a score was assembled from them and published in 1994. Since then, this edition has been finding admirers, such as Laurence Equilbey and her hand-picked choir Accentus, who perform the Requiem with members of the Orchestre National de France on this 2008 Naïve release. The impact of the work is still quite strong and imposing in this chamber version, even when compared with performances of the full orchestral score of 1901, and it helps that the recording is full, deep, and vibrant, so textures are substantial and tone colors are rich, without giving the slightest impression that any forces are lacking.

Sandrine Destombes continue d'explorer le territoire du fait divers avec Le prieuré de Crest, une enquête où les femmes sont cœur de l'intrigue.
"Madame, je vais vous demander de sortir du véhicule, s'il vous plaît."
Le sous-lieutenant Benoit se remémorera longtemps cette scène avec une seule question en tête : aurait-il agi différemment s'il avait su ce que déclencherait ce simple contrôle routier ? Une enfant de huit ans tourmentée. …