Mon Sang

Harry Nilsson worked at a bank and wrote songs on the side, mostly jingles and pop tunes in the mid-1960s. Under contract with RCA, his first record was a flop, but it yielded hits for The Monkees and Three Dog Night. In the late 1960s Nilsson was everywhere: pal to the Beatles (especially John and Ringo); singer of "Everybody's Talkin'," the theme to the movie Midnight Cowboy (1969); singer of the theme to the TV show The Courtship of Eddie's Father; composer of the soundtrack to the animated movie The Point (with its hit single "Me and My Arrow"); and singer of the number one hit, "Without You." …

Harry Nilsson spent almost all of his rich, idiosyncratic, sometimes maddening career at RCA Records, releasing his bravura debut, Pandemonium Shadow Show, in 1967 and fading into the sunset with 1977's Knnillssonn. During those ten years, he released 14 albums and left behind a bunch of stray tracks, almost all of which are gathered on Legacy's massive and wonderful 2013 box The RCA Albums Collection…

Édith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "The Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing. (Given her extraordinarily petite size, audiences marveled all the more at the force of her vocals.) Her style epitomized that of the classic French chanson: highly emotional, even melodramatic, with a wide, rapid vibrato that wrung every last drop of sentiment from a lyric. She preferred melancholy, mournful material, singing about heartache, tragedy, poverty, and the harsh reality of life on the streets; much of it was based to some degree on her real-life experiences, written specifically for her by an ever-shifting cast of songwriters.

Édith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "The Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing. (Given her extraordinarily petite size, audiences marveled all the more at the force of her vocals.) Her style epitomized that of the classic French chanson: highly emotional, even melodramatic, with a wide, rapid vibrato that wrung every last drop of sentiment from a lyric. She preferred melancholy, mournful material, singing about heartache, tragedy, poverty, and the harsh reality of life on the streets; much of it was based to some degree on her real-life experiences, written specifically for her by an ever-shifting cast of songwriters.

I have a personal criterion for judging sopranos in modern recordings of any role that Maria Callas excelled in: If you can beat Callas, you are gold. And despite her achievements in bel canto roles (most of which I find uninteresting, either dramatically or as music), I still think that Callas’s greatest gift to the world of opera, particularly opera in Italy, was to point out to the entire country and the world how much more there was in roles like Elvira in I Vespri Siciliani, Cheribini’s Medea, Iphigénie in this opera, and yes, even Lady Macbeth than had been previously thought.

The remarkable Hypermnestre by Charles- Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi.

The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi.