Jeanne-Michèle Charbonnet
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Special offer. Strauss, R: Elektra
RecommendedJeanne-Michèle Charbonnet (Elektra), Angela Denoke (Chrysothemis), Dame Felicity Palmer (Clytemnestra), Matthias Goerne (Orestes), Ian Storey (Aegisthus)
London Symphony Orchestra, Valery Gergiev
[Gergiev] conveys passions and tensions with compelling, sometimes deafening power...[Charbonnet is] strongly involved without, thankfully, overplaying the weirdness...[Palmer's Klytaemnestra... —
Awards:
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Presto Recording of the Week, 9th July 2012
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Schoenberg: Pelleas und Melisande - Erwartung
Jeanne-Michele Charbonnet (soprano)
Cologne West German Radio Symphony Orchestra, Jukka-Pekka Saraste
Charbonnet's performance, as recorded here, makes this kaleidoscopic score seem unremittingly hectic...However, if you believe that Erwartung embodies the composer's agonised attempt to exorcise... —
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Milken Archive Digital, Vol. 2 Album 5: A Garden Eastward – Sephardi & Near Eastern Inspiration
Jascha Heifetz (violin), Jürgen Essl (organ), Jeanne-Michèle Charbonnet (soprano), Debra Ayers (piano), Aaron Bensoussan (tenor)
Los Angeles Philharmonic Orchestra, New York Virtuoso Singers, Sephardi Ensemble, Alfred Wallenstein, Harold Rosenbaum, Eitan Kantor
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Soprano Arias: The Definitive Collection
Kiri Te Kanawa (soprano), Renata Scotto (soprano), Ying Huang, Leontyne Price (soprano), Anna Moffo (soprano), Teatro dell'Opera, Roma (opera company), Reri Grist (soprano), Ileana Cotrubas (soprano), Judith Raskin, Lily Pons (soprano), Simone Kermes (soprano), Teresa Berganza (mezzo-soprano), Andrea...
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Foulds: A World Requiem
Jeanne-Michèle Charbonnet (soprano), Catherine Wyn-Rogers (mezzo-soprano), Stuart Skelton (tenor) & Gerald Finley (baritone)
Trinity Boys Choir, Crouch End Festival Chorus, Philharmonia Chorus, BBC Symphony Chorus & BBC Symphony Orchestra, Leon Botstein
Anyone looking for the blazing, crazy brilliance of Foulds's Mantras, April-England or Dynamic Triptych is likely to come away with a very negative impression. There are occasional sparks of... —
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Though not a subtle piece, it is a mightily effective one, and this new recording, taken from four performances at the Frankfurt Opera last autumn, shows its power has not dated. With Wolfgang... —
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