Claude Debussy - Complete Melodies

Claude DEBUSSY (1862-1918)

Complete melodies 

Mady Mesplé (Soprano) 

Elly Ameling (Soprano) 

Michèle Command (Soprano) 

Frederica von Stade (Soprano) 

Gérard Souzay (Baritone)

Dalton Baldwin (Piano)

Track List

CD1

1. Nuit d'étoiles ("Nuit d'étoiles, sous tes voiles"), L.4  - Ameling

2. Fleur des blés ("Le long des blés que la brise fait onduler"), L.7  - Ameling

3. Beau soir ("Lorsque au soleil couchant les rivières sont roses"), L.6  - Souzay

4. Mandoline ("Les donneurs de sérénades"), L.29 - Souzay

5. La belle au bois dormant ("Des trous à son pourpoint vermeil"), L.74  - Command

6. Romance ("Voici que le printemps, ce fil léger d'avril"), L.52 - Mesplé

7. Paysage sentimental ("Le ciel d'hiver si doux, si triste, si dormant"), L. 45 - Mesplé

8. Triolet à Phillis ("Si j'étais le zéphyr ailé"), L. 12  - Mesplé

9. Rondeau ("Fut-il jamais douceur de coeur pareille"), L. 30  - Mesplé

10. Pantomime ("Pierrot qui n'a rien d'un Clitandre"), L. 31  - Mesplé

11. Clair de lune ("Votre âme est un paysage choisi"), L. 32  - Mesplé

12. Pierrot ("Le bon Pierrot que la foule contemple"), L. 15  - Mesplé

13. Apparition ("La lune s'attristait"), L. 53  - Mesplé

14. Rondel chinois ("Sur le lac bordé d'azalée"), L. 17  - Mesplé

15. Aimons-nous et dormons ("Aimons-nous et dormons, sans songer au reste du monde"), L. 16  - Mesplé

16. Jane ("Je pâlis et tombe en langueur"), L. 19  - Mesplé

17. En sourdine (première version), L. 28  - Mesplé

18. Romances (2), L. 79  - Mesplé & Command

19. Les Angélus ("Cloches chrétiennes pour les matines"), L. 76 - Command

20. Dans le jardin ("Je regardais dans le jardin"),L. 78  - Ameling

21. Mélodies (3), L. 81  - Souzay

22. Fêtes galantes (3), Set I, L. 80  - Ameling

CD2

23. Poèmes (5) de Baudelaire, , L. 64 - Command

24. Proses lyriques (4), , L. 84 - Ameling

25. Ariettes oubliées (6), , L. 60  - von Stade

CD3

26. Chansons de Bilitis (3),  L. 90  - Command

27. Fêtes galantes (3),  Set II, L. 104  - Souzay

28. Chansons de France (2),  L. 102: I. Rondel. Le Temps a laissié son manteau 

29. Chansons de France (2),  L. 102: II. Rondel. Pour ce que plaisance est morte 

30. Le promenoir des deux amants, L.118  - Souzay

31. Ballades de François Villon (3), L.119  - Souzay

32. Poèmes (3) de Mallarmé,  L. 127  - Ameling

33. Noël des enfants qui n'ont plus de maison,  L. 139 - Ameling

Released: 1980/1991

Review

The characteristics are uniformly: diction of great clarity, always understandable (provided, apart from M. Mesplé and G. Souzay, that one listens attentively), perfect prosodic mastery, great stylistic integrity, true intelligence of this music - difficult, as has been said.

Mady Mesplé demonstrates an ideal stylistic fit with this music. One thinks of Mary Garden with superior technique, with an obviousness inherited from tradition, but perfectly integrated into her musical personality. It is not without reason that she is considered one of the great melodists. However, it isElly Amelingwhich, in my opinion, takes the cake. A supple voice, light in texture but with a definite body, a great expressive restraint but, by all appearances, an almost triumphant joy in placing sounds within the mask; something of a rather exhilarating freshness and exultation. Surprisingly,Michèle Command(Mélisande in Baudo's recording, his first and most famous complete version) struggles a bit more to make himself understood, and although he is a French speaker, one detects some harshness that one would have more expected from Ameling when switching to the French language. The timbre, of considerable beauty, sounds closer to a mezzo-soprano (more akin to his Bellangère [ 1 ] than his Catherine d'Aragon [ 2 ] ), and the result, despite a slight opacity of color in contrast to Ameling or Mesplé, is very successful. Finally, even without being swept away by everything he has doneGérard SouzayIt must be acknowledged that he possesses unparalleled ease here, more inclined towards pianissimos than elsewhere, tempering his baytonal timbre which he sometimes exaggerates depending on the repertoire. Not in all the pieces, it is true: some showcase a slightly "pushed" voice.

Dalton Baldwin is at his best, and truly on top form: his playing is very honest, precise, and incisive, not always particularly original, but here devoid of any stiffness. An excellent standard, in a way. He manages to give these pieces a beautiful, pearly quality; his best recording to date.

My chosen excerpt:

"In the Garden", with lyrics by Paul Gravollet. Elly Ameling, Dalton Baldwin.

A rather moving melody, and no one will be able to suggest that Elly Ameling's talent is purely instrumental - here we have proof of a true storyteller's talent, in this very delicate repertoire - and not in her native language.

It's easy to see why this box set is so highly recommended: in addition to being a complete collection (and very inexpensive), it offers excellent performances in a consistently high-quality format. The variety of performers, skillfully grouped or interspersed, further enhances the listener's engagement.

Another disc I particularly like is that ofDawn UpshawFor the incredible colors, masterfully rendered. The French isn't bad, but the text is unintelligible (too blurry). A different vision, devoid of sharp angles, made up of surprising flat planes. Not very stylish, but quite stimulating.

David Le Marrec