HAHN Amour sans ailes

Record and Artist Details

Composer or Director: Reynaldo Hahn

Genre:

Vocal

Label: MSR Classics

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: MS1649

MS1649. HAHN Amour sans ailes

Tracks:

Composition Artist Credit
Etudes Latines (Song-Cycle) Zachary Gordin
Reynaldo Hahn Composer
Bryan Nies
Rêverie Bryan Nies
Zachary Gordin
Reynaldo Hahn Composer
A Chloris Reynaldo Hahn Composer
Bryan Nies
Zachary Gordin
(L') Enamourée Zachary Gordin
Bryan Nies
Reynaldo Hahn Composer
Etudes Latines (Song-Cycle) Reynaldo Hahn Composer
Zachary Gordin
Bryan Nies
Nocturne Bryan Nies
Zachary Gordin
Reynaldo Hahn Composer
(L') Incrédule Bryan Nies
Reynaldo Hahn Composer
Zachary Gordin
Love Without Wings Zachary Gordin
Bryan Nies
Reynaldo Hahn Composer
(La) Chère blessure Reynaldo Hahn Composer
Zachary Gordin
Bryan Nies
Chansons grises Bryan Nies
Zachary Gordin
Reynaldo Hahn Composer
Dans la nuit Bryan Nies
Zachary Gordin
Reynaldo Hahn Composer
Fêtes galantes Reynaldo Hahn Composer
Bryan Nies
Zachary Gordin
Trois jours de vendage Bryan Nies
Reynaldo Hahn Composer
Zachary Gordin
Zachary Gordin and his regular recital partner, Bryan Nies, opt for Hahn for their first album together, strikingly programmed, if, at 46 minutes, rather short. Gordin gives us Chansons grises complete, allowing us to hear the familiar ‘L’heure exquise’ in the wider context of the Verlaine settings that frame it. And he also gives us the brooding 1899 cycle Love Without Wings, to texts by the English poet Mary Frances Robinson (1857-1944), which may form a reflection on Hahn’s relationship with Proust: the text of the final song, ‘I know you love me not’, bears so striking a resemblance to a famous letter from Proust to Hahn near the end of their affair (‘Je crois que … vous ne m’aimez plus’, etc) that the similarities cannot be put down entirely to coincidence.

Gordin communicates tangible pleasure in his material. There’s wit in ‘Fêtes galantes’, pride as well as wonder in ‘À Chloris’ and lofty nobility in the extracts from Études latines. Gordin’s voice, however, is unevenly produced. A pulse in his upper registers makes its presence felt in the opening ‘Rêverie’ and sometimes gets in the way later on. His soft singing can be beautiful: the way he almost whispers ‘L’heure exquise’ is captivating but there’s also a moment near the beginning of ‘Paysage triste’, also from Chansons grises, where his intonation wavers. Nies is an attractive accompanist, admirably restrained and unsentimental. It’s an engaging disc; but to hear Hahn-singing at its best, you need to turn to Véronique Gens (Alpha, 1/16) and Susan Graham (Sony, 9/98), still leaders in the field.

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