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Special offer. L'extase

Debussy & Messiaen

Magdalena Kožená (mezzo), Mitsuko Uchida (piano)

L'extase

Awards:

Magdalena Kožená and Mitsuko Uchida have the kind of symbiosis that comes from having performed this repertoire together for many years, moving as one in the Wagnerian ebb and flow of Debussy’s...

Special offer. L'extase

Debussy & Messiaen

Magdalena Kožená (mezzo), Mitsuko Uchida (piano)

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This release includes a digital booklet

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Awards:

Magdalena Kožená and Mitsuko Uchida have the kind of symbiosis that comes from having performed this repertoire together for many years, moving as one in the Wagnerian ebb and flow of Debussy’s...

About

With mezzo-soprano Magdalena Kozena and pianist Mitsuko Uchida, two world stars join hands on L'extase, a collection of songs by Claude Debussy and Olivier Messiaen. Debussy was Messiaen's life-long idol, and their songs are equally colourful, sumptuous, sensual, and occasionally exotic. The album derives its name from the sultry song 'C'est l'extase langoureuse' from Debussy's Ariettes oubliees, and this song cycle is combined with his Chansons de Bilitis and Cinq poemes des Baudelaires, while Messiaen is represented by the second book of his Poemes pour Mi, a declaration of love for his first wife Claire Delbos. This recording demonstrates the profound affinity of both performers with French music, as well as their congeniality as musical partners. With L'extase, star mezzo-soprano Magdalena Kozena presents the seventh album of her exclusive collaboration with Pentatone, after having presented Il giardino dei sospiri, Soiree (both 2019), Nostalgia (2021), Folk Songs (2023), the title role in Handel's Alcina and Czech Songs (both 2024). One of the most revered artists of our time, Mitsuko Uchida is known as a peerless interpreter of the works of Mozart, Schubert, Schumann and Beethoven, as well for being a devotee of the piano music of Alban Berg, Arnold Schoenberg, Anton Webern, and Gyorgy Kurtag. She makes her PENTATONE debut.

Contents and tracklist

No. 1, La flûte de Pan
Track length3:08
No. 2, La chevelure
Track length3:41
No. 3, Le tombeau des Naiades
Track length3:28
No. 1, Le Balcon
Track length9:36
No. 2, Harmonie du soir
Track length4:39
No. 3, Le jet d'eau
Track length5:49
No. 4, Recueillement
Track length5:14
No. 5, La mort des amants
Track length3:52
No. 1, C'est l'extase langoureuse
Track length3:14
No. 2, Il pleure dans mon coeur
Track length3:00
No. 3, L'ombre des arbres
Track length2:43
No. 4, Chevaux de bois
Track length3:20
No. 5, Green
Track length2:34
No. 6, Spleen
Track length2:48
No. 1, L'epouse
Track length2:07
No. 2, Ta voix
Track length3:13
No. 3, Les deux guerriers
Track length1:52
No. 4, Le collier
Track length3:33
No. 5, Prière exaucée
Track length3:17

Spotlight on this release

Awards and reviews

  • Gramophone Magazine
    July 2025
    Editor's Choice
  • International Classical Music Awards
    2026
    Nominated - Vocal Music

July 2025

Magdalena Kožená and Mitsuko Uchida have the kind of symbiosis that comes from having performed this repertoire together for many years, moving as one in the Wagnerian ebb and flow of Debussy’s Cinq poèmes de Baudelaire. Kožená’s control and Uchida’s touch are mesmerising in the intense stillness of ‘Recueillement'.

The three Debussy cycles shine thanks to the luminous sheen of Kožená’s voice. Compared to some other performances on record, Kožená and Uchida give themselves more time, allowing a potent atmosphere to build… There is much beauty here and no little sensitivity.

July 2025

A pity both books of Messiaen’s Poèmes pour Mi (1937) could not be included, but Kožená makes a persuasive case for the second of these as an integrated unity...Mitsuko Uchida responds at all times with a poise and insight to make one regret that she has not played more French music... ‘L’extase’ indeed!

4th June 2025

The composer is mostly Debussy, with 13 minutes of Messiaen added, and the ecstasy flagged up by the album’s title, L’extase, never ceases. From Debussy’s erotic Chansons de Bilitis we move on to his bigger settings of Baudelaire and Verlaine, poets whose sensuous imaginings emerge a little more languorously than usual thanks to Kozena’s soft-pedalling of consonants.
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