In My Element by Anne Sofie von Otter: CD Cover

    In My Element Anne Sofie von Otter

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    CD

    • Release Date: 03/03/2008
    • 2 Disc Set
    • Sales Rank: 86,678
    • Label: DG IMPORTS
    • UPC: 028947770770

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    • Overview
    • Tracks
    • Editorial Reviews
    • Details & Credits

    In My Element

    1. Les contes d'Hoffmann, opera in 4 acts: Entr'acte et Barcarolle 4:04
    Composed by Jacques Offenbach
    Performed by Anne Sofie von Otter and Stéphanie d'Oustrac
    2. La Grande-Duchesse de Gérolstein, operetta in 3 acts: Portez armes! / Vous aimez le danger ... Ah, que j 4:49
    Composed by Jacques Offenbach
    Performed by Les Musiciens du Louvre, Anne Sofie von Otter and Les Musiciens du Louvre Chorus
    Conducted by Marc Minkowski
    3. Carmen, opera: Havanaise: L'amour est un oiseau rebelle 4:31
    Composed by Georges Bizet
    Performed by Orféon Donostiarra, Anne Sofie von Otter and Jose Antonio Sainz
    4. Carmen, opera: Les tringles des sistres tintaient 4:48
    Composed by Georges Bizet
    Performed by Anne Sofie von Otter
    5. Ariadne auf Naxos, opera, Op. 60-I (TrV 228) (original version): Seien wir wieder gut 3:02
    Composed by Richard Strauss
    Conducted by Giuseppe Sinopoli
    Performed by Albert Dohmen, Dresden Staatskapelle and Anne Sofie von Otter
    6. La Clemenza di Tito, opera, K. 621: Parto, ma tu ben mio 5:50
    Composed by Wolfgang Amadeus Mozart
    Performed by English Baroque Soloists and Anne Sofie von Otter
    Conducted by John Eliot Gardiner

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    About this Artist

    Editorial Reviews

    There has rarely been a singer as polymorphically talented in as diverse a repertoire as Anne Sofie von Otter. Few other singers are as at home in Monteverdi as in Mahler, in Mozart as in Haas, in Handel as in Weill, in Dowland as in Costello, in Bizet as in ABBA. Whatever the repertoire, the Swedish singer's diction is as perfect as her intonation; not a syllable or a note sounds anything less than utterly natural. Her performances are as fully thought through as her emotions are fully felt. No matter how expressive the music or how affecting her singing, she understands what she is performing with her head as well as her heart. Some listeners may complain that von Otter's mezzo-soprano is not a perfect instrument, that her tone lacks creaminess, and her phrasing is sometimes wanting in warmth. But the broad consensus is that von Otter's voice is so ideally deployed, her technique so supremely polished, and her feeling so clearly honest, that her occasional lack of warmth is of negligible importance. Whether accompanied by her pianist Bengt Forsberg or by the Metropolitan Opera Orchestra, von Otter's performances are beautifully framed. In these performances recorded between 1988 and 2004, Deutsche Grammophon's digital sound is invariably transparent and immediate. James Leonard, All Music Guide

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