Natalie Dessay sings Schubert
Natalie Dessay (soprano) & Philippe Cassard (piano), Thomas Savy (clarinet)
This inspired collection of songs could serve as a useful introduction to newcomers to this repertoire and Philippe Cassard’s tender, balanced touch is a delight
Natalie Dessay sings Schubert
Natalie Dessay (soprano) & Philippe Cassard (piano), Thomas Savy (clarinet)
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This inspired collection of songs could serve as a useful introduction to newcomers to this repertoire and Philippe Cassard’s tender, balanced touch is a delight
About
The first ever German album of Natalie Dessay (this is her first Schubert album and her first lieder album). 4 Lieder have never been sung by a woman before. recorded with Philipp Cassard (piano) in Berlin, Siemensvilla on November 28th – December 3rd, 2016. Album supported with World Tour Dates in Spring 2017. from Schiller and Goethe to Heine, the Schubertian Lied, which is based on the best German poets, is a reflection of the intimate thoughts of the composer who realizes an outstanding fusion between the poetic verb and the musical lyricism. Natalie Dessay is a regular collaborator with Michel Legrand and together they have performed all over the world. She is also a committed recital singer, frequently performing French melodies and German Lieder with Laurent Naouri, Maciej Pikulski or Philippe Cassard. In 2015 she revealed new depths of dramatic and rhetorical insight, making her debut as a narrator in performances of Howard Barkler’s monologue Und at the Théâtre Olympia in Tours, and in Paris at the Théâtre de l’Athénée. The project was so successful that it was revived at the Théâtre des Abbesses in Paris in May 2016. Natalie Dessay is the only French female artist to be awarded the honorary rank of Kammersängerin by the Wiener Staatsoper.
Contents and tracklist
Awards and reviews
October 2017
This inspired collection of songs could serve as a useful introduction to newcomers to this repertoire and Philippe Cassard’s tender, balanced touch is a delight
June 2017
Dessay is at her best in Schubert’s lighter, brighter songs: tender and intimate in the Schubertised bel canto of ‘Am Bach im Frühling’ and singing ‘Geheimes’ with a mingled innocence and pent-up excitement