Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)

Editorial Reviews
Amazon.com
Lyric mezzo-soprano Susan Graham stands out from the crowd for her expressive, opulent voice and communicative gifts. Someone at Sony has made the decision to place her in the public mind primarily as a singer of French works, and although it would be a shame to see her limited to that area of the repertoire, she does sing the French repertoire exceptionally. Graham sings sensitively and idiomatically in this group of 24 songs by Reynaldo Hahn (1875-1947), a Venezuelan-born, French-reared composer and conductor who knew how to craft a song like few others. In such lovely songs as "A Chloris," which opens the album, and "Je me souviens," Hahn creates a bevy of beautiful little worlds, which Graham and the outstanding pianist Roger Vignoles present in memorable form. This album belongs in the collection of all lovers of song. --Sarah Bryan Miller

Tracks:

A Chloris
Le Rossignol des lilas
L'Enamour
Trois Jours de vendage
Lyde
Tyndaris
Phyllis
Les Fontaines
L'Automne
Infidelit
Dans la nuit
D'une prison
Quand la nuit n'est pas teoilee
Fume
Le Printemps
Je me souviens
Quand je fus pris au pavillion
Paysage
Fetes galantes
Nocturne
Mai
L'Heure exquise
Offrande
Si mes vers avaient des ailes

Amazon.com

Lyric mezzo-soprano Susan Graham stands out from the crowd for her expressive, opulent voice and communicative gifts. Someone at Sony has made the decision to place her in the public mind primarily as a singer of French works, and although it would be a shame to see her limited to that area of the repertoire, she does sing the French repertoire exceptionally. Graham sings sensitively and idiomatically in this group of 24 songs by Reynaldo Hahn (1875-1947), a Venezuelan-born, French-reared composer and conductor who knew how to craft a song like few others. In such lovely songs as "A Chloris," which opens the album, and "Je me souviens," Hahn creates a bevy of beautiful little worlds, which Graham and the outstanding pianist Roger Vignoles present in memorable form. This album belongs in the collection of all lovers of song. --Sarah Bryan Miller

Customer Reviews:

Susan Graham, Songs of Reynaldo Hahn.......2007-01-10

Stunning. The sticker on the front of the CD (New York Times quote) says it all: "breathtaiking and unforgettable!".

Excellent Catalyst for Seduction. Buy It........2006-05-19

'La Belle Epoque, The Songs of Reynaldo Hahn' by mezzo-soprano Susan Graham, accompanied by pianist, Roger Vignoles, is much different from my earlier subject of a Graham Review, some songs from Berlioz. The Berlioz material struck me as a concerto for orchestra and voice. This was excellent material for to wow a mate on a first date. Reynaldo Hahn's chamber songs are for much more intimate venues and objectives. Even more than any other 'Lieder' or 'Chansom' specialist I can think of, these are the sorts of things you want to use when the object is seduction.

The songs are so gentle and so seductive that they are as likely to set the tone for the seducer as well as for the seductee. Even if you are not in a seductive situation, the songs will make you want to be there.

All this means is that while Reynaldo Hahn does not have the great reputation of Berlioz or Shubert or Schuman or Debussy, you really should know his songs, and Ms. Graham does a great interpretation to make this introduction.

Graham's Artistry Makes for Compelling Listening in a Collection of Songs from a 'Minor' Composer.......2006-02-27

This was only Graham's second solo outing, and for many listeners it confirmed the promise of her d?but recording of "Les Nuits d'?t?" -- an unusual accomplishment for a relatively minor project.

I know the songs of Reynaldo Hahn from a number of worthy recordings from other artists -- Rachel Yakar, Martyn Hill, Bruno Laplante, Mady Mespl?, Graham Johnson & Co. (the Hyperion French Song Edition), one-offs on Elly Ameling albums, not to mention vintage recordings by Hahn himself. All the same, this recording was a complete revelation. Her beauty of tone, her ease with the French language (surpassing, I daresay, the much-vaunted Francophony of Felicity Lott), her canny selection of songs, Vignoles's sensitive accompaniment, they all add up. But there's that (ahem) je-ne-sais-quoi that makes something a classic, and this album has it. It captures an era, it creates a time and place that come wafting out of your speakers.

My favorite song on this record is "Si la nuit n'est pas ?toil?e" -- it is a rapturous melody to a quintessential Victor Hugo text. But there is nary a false note on the entire album. I do recommend, if you can find it, the Ameling album "Serenata," which includes two Hahn songs I haven't encountered elsewhere, "L'amiti?" with its faint melancholy and "La vie est belle" with its French ?lan.

As we know, Graham has gone on to much bigger things, but she retains her commitment to the art of song and to breathing fresh life into French rarities (as in her delightful operetta album). In terms of tone, timbre, and intonation, for my money she has the most beautiful voice in opera today. My only hope is that she doesn't go the way of Ren?e Fleming and become The Voice Beautiful ... she veered a bit in that direction with her recent Chausson record, and I hope she gets back to business and gets her vivid personality back in action in her song performances.

The beauty of "La Belle Époque".......2005-09-13

This is one of the most beautiful vocal recordings I have recently experienced. The songs of Reynaldo Hahn are beautiful gems exquisitly presented by the polished voice of Susan Graham. I have gone back to this recording many times.

A very good Hahn collection.......2004-12-05

Venezuelan-born Reynaldo Hahn was taken to Paris at age 3, and became, early enough (his most famous song, Si mes vers avaient des ailes, was composed when he was 12!) a steady feature in the musical life of Paris.

Lover of Marcel Proust, sought-after musical entertainer in the salons of the Highest Society, diarist, composer, singer, renowned conductor, influential music writer in the most powerful daily in France (Le Figaro) finally General Manager of the Opéra Comique before dying of a brain tumor in 1947, Hahn was a multi-faceted musician of the highest probity. His songs are simple, patrician, utterly elegant, and always set to the best poetry. His simplicity and purity of means accomplish in little what many pretentious thunderers fail even to approximate.

Hahn himself had a light little baritone voice, a little croak of a voice, really, with which he became popular in high society drawing rooms before the First World War: a voice that charmed duchesses and made the most reserved princesses smile. He even made some 50 records between 1920 and 1930, which show his unique, expressive musicality, unfailing sense of phrasing, elegance of style, and fine piano-playing (He almost invariably accompanies himself.)

Hahn's own 78s, and a very few others by the likes of Ninon Vallin, give a clear recorded testimony of how his songs ought to be performed: simply, elegantly, with charm.

Graham is a lovely singer and a supple musician. Her French is not exactly top-notch but most people will not care: they will respond to her beautiful sound and endearing manner. The pianist is also good.

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