Laurence Dale: French arias
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-François Gounod, Adolphe (Charles) Adam, Georges Bizet, Daniel-François-Esprit Auber, Francois (Emmanuel-Joseph) Bazin, André (Charles Prosper) Messager, (Charles Louis) Ambroise Thomas, Nicholas Etienne Méhul, (François) Adrien Boïeldieu, Jules (Emile Frédéric) Massenet, Edouard(-Victoire-Antoine) Lalo
Label: Le Chant du Monde
Magazine Review Date: 6/1989
Media Format: CD or Download
Media Runtime: 75
Mastering:
DDD
Catalogue Number: LDC278 934
Tracks:
Composition | Artist Credit |
---|---|
Grisélidis |
Jules (Emile Frédéric) Massenet, Composer
Jules (Emile Frédéric) Massenet, Composer |
(La) Dame blanche, Movement: Ah! quel plaisir d'être soldat! |
(François) Adrien Boïeldieu, Composer
(François) Adrien Boïeldieu, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
(La) Dame blanche, Movement: Viens, gentille dame |
(François) Adrien Boïeldieu, Composer
(François) Adrien Boïeldieu, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Mignon, Movement: ~ |
(Charles Louis) Ambroise Thomas, Composer
(Charles Louis) Ambroise Thomas, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
(Le) Roi d'Ys, Movement: ~ |
Edouard(-Victoire-Antoine) Lalo, Composer
Edouard(-Victoire-Antoine) Lalo, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
(Le) Postillon de Lonjumeau, Movement: Mes amis, écoutez l'histoire (Freunde, vernehmetichte) |
Adolphe (Charles) Adam, Composer
Adolphe (Charles) Adam, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Sapho, Movement: ~ |
Charles-François Gounod, Composer
Charles-François Gounod, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Joseph |
Nicholas Etienne Méhul, Composer
Nicholas Etienne Méhul, Composer |
(La) Muette de Portici (Masaniello), Movement: Du pauvre seul ami fidèle! |
Daniel-François-Esprit Auber, Composer
Daniel-François-Esprit Auber, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Fra Diavolo, Movement: Pour toujours, disait-elle |
Daniel-François-Esprit Auber, Composer
Daniel-François-Esprit Auber, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
(La) Jolie fille de Perth, '(The) Fair Maid of Per, Movement: À la voix d'un amant fidèle (Sérénade) |
Georges Bizet, Composer
Georges Bizet, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Ivan IV |
Georges Bizet, Composer
Georges Bizet, Composer |
Fortunio |
André (Charles Prosper) Messager, Composer
André (Charles Prosper) Messager, Composer |
Faust, Movement: ~ |
Charles-François Gounod, Composer
Charles-François Gounod, Composer Kenneth Montgomery, Conductor Laurence Dale, Tenor Nancy Symphony Orchestra |
Maître Pathelin |
Francois (Emmanuel-Joseph) Bazin, Composer
Francois (Emmanuel-Joseph) Bazin, Composer |
Author: Alan Blyth
In the dear, dead days of 78rpm, a tenor might have recorded the arias included here, adding up to 75 minutes of consistently beguiling music, over a studio career of ten years or so. Dale is asked to encompass the lot in two sessions. He is also, of course, pitting himself against the standard set by tenors such as Clement, Slezak, Villabella Thill, Crooks, McCormack, Nash and Gedda who recorded one or more of these pieces memorably in the past. Dale stands up pretty well to many of the comparisons. His sweet, easily produced and attractive tenor, French in character runs through most of these pieces pleasingly, the technique accomplished, the tone consistently fresh.
He is particularly successful in music calling for refined mezza voce such as Alain's elegiac aria from Griselidis, the Berceuse from La muette de Portici, where comparisons with Jadlowker are quite feasible and ''Viens, gentille dame'' from La dame blanche, where both his phrasing and his French are faultless. It is good to hear Faust's cavatine sung for once with French elegance and lightness. Both here and in the Serenade from La jolie fille de Perth comparisons with Heddle Nash are pertinent. Dale hasn't the earlier tenor's minstrel-like timbre nor his innate ardour, but the style is just as attractive. The high C in ''Salut demeure'' is a little suspect, and that is typical of the top notes throughout the recital. Above A the sound is somewhat parched and insubstantial Dale unable to produce either a real head voice or a substantial tone a la Thill. That he can sing with more strength and character, is, however, shown in the Gluck-like ''Champs paternels'', where he can stand comparison with McCormack, and the interesting aria from Gounod's Sapho. Everything is delivered in admirable French.
The support from Kenneth Montgomery and the Nancy orchestra is as idiomatic as the singing. The recording keeps an even balance between voice and instruments except in the Jolie fille Serenade where the singer is distanced, perhaps deliberately, to suggest the hero is below his beloved Catherine's window. Only the French words are provided.'
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