Italian Opera Arias Natalie Dessay

Italian Opera Arias

1	La Traviata, opera: E str
2	La Traviata, opera: Folli
3	I Puritani, opera: O rend
4	I Puritani, opera: Qui la
5	I Puritani, opera: Vien d
6	Maria Stuarda, opera: All
7	Maria Stuarda, opera: Oh
8	Maria Stuarda, opera: Nel
9	Rigoletto, opera: Gualtie
10	I Capuleti e i Montecchi,
11	I Capuleti e i Montecchi,
12	Lucia di Lammermoor, oper
13	Lucia di Lammermoor, oper
14	Lucia di Lammermoor, oper
15	Lucia di Lammermoor, oper
Italian Opera Arias
1.	La Traviata, opera: Ah, fors' č lui- Ah, fors' č lui 6:05
	Composed by Giuseppe Verdi
	Performed by Roberto Alagna, Concerto Köln and Natalie Dessay
	Conducted by Evelino Pidō
2.	La Traviata, opera: Sempre libera- Sempre libera 4:45
	Composed by Giuseppe Verdi
	Performed by Roberto Alagna, Concerto Köln and Natalie Dessay
	Conducted by Evelino Pidō
3.	I Puritani, opera: O rendetemi la speme- O rendetemi la speme 2:08
	Composed by Vicenzo Bellini
	Performed by Concerto Köln, Natalie Dessay, Matthew Rose and Frank Ferrari
	Conducted by Evelino Pidō
4.	I Puritani, opera: Qui la voce sua soave- Qui la voce sua soave 9:03
	Composed by Vicenzo Bellini
	Performed by Concerto Köln, Natalie Dessay, Matthew Rose and Frank Ferrari
	Conducted by Evelino Pidō
5.	I Puritani, opera: Vien, diletto, č in ciel la luna- Vien, diletto, č in ciel la luna 5:26
	Composed by Vicenzo Bellini
	Performed by Concerto Köln, Natalie Dessay, Matthew Rose and Frank Ferrari
	Conducted by Evelino Pidō
6.	Maria Stuarda, opera: Allenta il pič, Regina- Allenta il pič, Regina 3:51
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Karine Deshayes and Europäischer Kammerchor
	Conducted by Evelino Pidō
7.	Maria Stuarda, opera: O nube, che lieve- O nube, che lieve 3:35
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Karine Deshayes and Europäischer Kammerchor
	Conducted by Evelino Pidō
8.	Maria Stuarda, opera: Nella pace del mesto riposo- Nella pace del mesto riposo 3:02
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Karine Deshayes and Europäischer Kammerchor
	Conducted by Evelino Pidō
9.	Rigoletto, opera: Gualtier Maldé ... Caro nome- Gualtier Maldé ... Caro nome 6:44
	Composed by Giuseppe Verdi
	Performed by Roberto Alagna, Concerto Köln, Natalie Dessay, Matthew Rose, Europäischer Kammerchor and Frank Ferrari
	Conducted by Evelino Pidō
10.	I Capuleti e i Montecchi, opera: Eccomi in lieta vesta- Eccomi in lieta vesta 5:48
	Composed by Vicenzo Bellini
	Performed by Concerto Köln and Natalie Dessay
	Conducted by Evelino Pidō
11.	I Capuleti e i Montecchi, opera: Oh, quante volte- Oh, quante volte 4:01
	Composed by Vicenzo Bellini
	Performed by Concerto Köln and Natalie Dessay
	Conducted by Evelino Pidō
12.	Lucia di Lammermoor, opera: Eccola ... ll dolce suono- Eccola ... ll dolce suono 6:41
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Sascha Reckert, Wolfgang Klose, Matthew Rose, Europäischer Kammerchor and Frank Ferrari
	Conducted by Evelino Pidō
13.	Lucia di Lammermoor, opera: Ardon gli incensi- Ardon gli incensi 4:52
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Sascha Reckert, Wolfgang Klose, Matthew Rose, Europäischer Kammerchor and Frank Ferrari
	Conducted by Evelino Pidō
14.	Lucia di Lammermoor, opera: S'avanza Enrico- S'avanza Enrico 2:57
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Sascha Reckert, Wolfgang Klose, Matthew Rose, Europäischer Kammerchor and Frank Ferrari
	Conducted by Evelino Pidō
15.	Lucia di Lammermoor, opera: Spargi d'amaro pianto- Spargi d'amaro pianto 4:17
	Composed by Gaetano Donizetti
	Performed by Concerto Köln, Natalie Dessay, Sascha Reckert, Wolfgang Klose, Matthew Rose, Europäischer Kammerchor and Frank Ferrari
	Conducted by Evelino Pidō
16.	Untitled CD-ROM Track 0:00
	Composed by Unspecified

All Music Guide

It's a measure of Natalie Dessay's entirely appropriate priorities -- of musical content over her vanity -- that she looks so ghastly on the cover of her album of scenes and arias from Italian operas. She's dressed as the mad Lucia -- who certainly shouldn't be looking her best, but "as if she has risen from the grave" -- and the image is emblematic of her commitment to dramatic verisimilitude in the role. The same self-effacing approach is evident in all her portrayals, of Violetta, Elvira, Maria Stuarda, Gilda, and Bellini's Giuletta, in which she doesn't call attention to herself with extreme or idiosyncratic performances, but seems to lose herself in the characters. Dessay's performances aren't flashy, and the primary focus is on the musical and dramatic demands of the roles. Dessay frequently includes excerpts from scenes, which places the arias nicely in their dramatic context. Dessay's voice is light, and while she may not have the vocal heft of many of the singers who take on these roles, the delicacy and youthfulness of her voice are often ideally suited to the characters' tenuous emotional conditions, particularly Lucia, Elvira, and Giulietta. She has plenty of substance to easily soar over the orchestra, though, and her coloratura is absolutely secure. The overall impression is that she has nothing to prove, she's simply using her superb instrument to deliver what the composer asked for, with assurance, intelligence, and passion. Evelino Pidō leads Concerto Köln and Europäischer Kammerchor in performances that match Dessay's intensity. ~ Stephen Eddins, Rovi

Gramophone

Here we have one of the great opera personalities of our time -- it's a lovely voice, used with formidable technique. Patrick O'Connor

BBC Music Magazine

The most dramatic soprano of the day.... Natalie Dessay has it all. Christopher Cook

San Francisco Chronicle

The singer deploys her bell-like tone and exquisite musicianship in familiar passages from "La Traviata," "Rigoletto" and "I Puritani," among others.... Runs, trills, floated high notes and dramatic dynamics all sound integral to the emotional fabric of the scene. Steven Winn

Newark Star-Ledger

Natalie Dessay's latest release aptly illustrates why the French soprano is perhaps today's most celebrated singer-actress.... This is a special record. Bradley Bambarger

Daily Telegraph

Dessay yields to no one in virtuosity. She deals effortlessly with the trills, pirouettes and stratospheric ascents in these scenas, throwing out top Cs, Ds and E flats with unfaltering panache. Dessay also acts vividly with the voice. Richard Wigmore

Toronto Star

The diva is in great voice, and gets great support. John Terauds