Im Chambre séparée: The Operetta Album

Editorial Reviews
Amazon.com
You don't have to be Viennese to love Viennese operettas, whose lilting waltz-rhythms and catchy tunes have captivated audiences since Johann Strauss, Jr., the Waltz King, originated the style with his masterpiece Die Fledermaus in 1874. His genius remains unequaled; among his successors and imitators, only Lehár (who had the temerity, and the skill, to compete with Schubert's setting of Goethe's "Heidenröslein"--No. 15 on this disc) got anywhere near him in compositional ability or inspiration. Thus, the stand-outs here are the "Laughing Song" from Fledermaus and the "Vilja-Song" from The Merry Widow. Many songs are the only survivors of totally forgotten operettas; indeed, some were written by amateur "spare-time" composers, like Heuberger and Zeller; yet the former's title song and the latter's "Don't be cross" (No. 4) have become classics. Most are about love, dreamed of, yearned for, fulfilled and unfulfilled; primarily slow, they are set off by a few lively, exuberant, mischievous ones. The program ends with "Vienna, City of my Dreams," which celebrates Vienna's glamour, but indirectly also its melting-pot culture: the name of its creator is Rudolf Sieczynski.

Barbara Bonney, star of opera and concert stage, obviously loves this music, but is not quite at home in it. Her voice, clear as a bell with a wonderful top, is perhaps too pure and uninflected for its sensuous seductiveness, sentimentality, and robust, earthy humor. Her German diction is unclear, and the Viennese dialect sounds alien to her. (Her translations, though mostly accurate, also betray a lack of idiomatic feeling.) Pianist Ronald Schneider's accompaniments are much closer to the style, but he sometimes camps them up. --Edith Eisler

Tracks:

Im Chambre Separee
Ich Schenk Mein Herz
Ich Bin Die Christel Von Der Post
Sei Nicht Bos
Du Sollst Der Kaiser Meiner Seele Sein
Als Gebluht Der Kirschenbaum
Draussen In Sievering
Schwips-Lied
Mein Herr Marquis
Es Muss Was Wunderbares Sein, Von Dir Geliebt Zu Werden
Im Salzkammergut
Du Nur Bist Das Gluck Meines Lebens
Strahlender Mond
Vilja-Lied
Sah Ein Knab' Ein Roslein Stehn
Einer Wird Kommen
Meine Lippen, Die Kussen So Heiss
Wien, Du Stadt Meiner Traume

Amazon.com

You don't have to be Viennese to love Viennese operettas, whose lilting waltz-rhythms and catchy tunes have captivated audiences since Johann Strauss, Jr., the Waltz King, originated the style with his masterpiece Die Fledermaus in 1874. His genius remains unequaled; among his successors and imitators, only Lehár (who had the temerity, and the skill, to compete with Schubert's setting of Goethe's "Heidenröslein"--No. 15 on this disc) got anywhere near him in compositional ability or inspiration. Thus, the stand-outs here are the "Laughing Song" from Fledermaus and the "Vilja-Song" from The Merry Widow. Many songs are the only survivors of totally forgotten operettas; indeed, some were written by amateur "spare-time" composers, like Heuberger and Zeller; yet the former's title song and the latter's "Don't be cross" (No. 4) have become classics. Most are about love, dreamed of, yearned for, fulfilled and unfulfilled; primarily slow, they are set off by a few lively, exuberant, mischievous ones. The program ends with "Vienna, City of my Dreams," which celebrates Vienna's glamour, but indirectly also its melting-pot culture: the name of its creator is Rudolf Sieczynski.

Customer Reviews:

Time to don one's gloves and sip one's champagne - elegance personified.......2006-07-27

Let me begin by saying that I'd heard unfavourable reviews of this recording before I purchased it, but a snippet from one of the tracks which was played on the radio was delightful - and I decided to buy the CD in spite of the reviews.

I was not disappointed. It's odd - there is a reviewer below who mentions some problems with the middle register and a certain breathiness and lack of support which I cannot hear in this recording. Yet it's true that in her two subsequent recordings, the glow and wonder of Ms Bonney's voice are definitely impaired.

I listened once again to this CD, and once again was simply enchanted by it. It's possible that the voice is not the same as it was 20 years ago, but it's still incredibly beautiful, agile and intelligently used. I'm particularly charmed by her singing these operetta arias with a piano rather than orchestra - a much braver and more exposed singing and recording experience.

Ms Bonney is sweet, coy, deliciously teasing, devout and loving in turns, as required by the arias. She is always beautiful to listen to.

Recommended.

Charming, Funny, a new favorite.......2004-07-14

Maybe I'm not very serious in my listening habits, but this collection is a riot. I find myself humming the tunes all time time...and I was unfamiliar with most of them when I bought the recording. Lehar's setting of Goethe's poem Sah ein Knab' ein Roslein stehn from Friederike is quite wonderful and a nice contrast to the Schubert setting. (I also have Bonney singing that one.) The odd pieces, like Ich bin die Christel von der Post and the Schwips-Lied (tipsy song), are charming. I bought the CD for Mein Herr Marquis, a piece I learned as a high school accompanist, but the rest of this lovely recording has earned a place in my heart. I realize that Barbara Bonney's voice has changed over the years, but I think she really sounds like she's having fun on this one.

Fading Radiance.......2004-03-24

I find this CD lacks a tonal clarity that Bonney's voice displayed in her younger productions as 'Sofie' from Der Rosenkavalier. There is a slight tremelo that begins to creep into her middle register (though,this a touchy register for all soprani) and Bonney relies too heavily on breathiness to display the classic tenuti in 'Meine Lippen'. In same song Bonney lacks a strong vocal support (specially towards the end of the song) and decides to 'speak' many notes. Her fading vocal abilities are nicely displayed in a recording studio (where subtle nuances required of fading vocal abilities are amplified) though her gasps of air between phrases (a harsh sign of the toughening of once famously relaxed vocal cords) should have been removed if at all possible. Her German is practically flawless (of course!) and she is very musical. There are moments where one can still hear the vocal technique 'Sofie' requires of a soprano; but the lack of vocal stability and continuity only makes one weep for that which is lost. This CD stands as a testiment to a fading 'radiance' that was such a marked success in her youth.

Wunderbar!.......2003-07-15

There are some singers who never seem to have an off day, and Barbara Bonney is one of them. Through the years she has produced a series od CD's that have delighted the ears, bewitched the soul, and garnered her many loyal fans all over the world. And her newest offering is no disappointment: these charming remnants of a lost age may seem pure corn to some, but they were a wonderful discovery to this listener. And, of course, there are some old favorites included here as well: the title song (the best interpretation I've heard since Beverly Sills'), "Vilja", "Wien, du Stadt meinter Traume", and "Meine Lippen die kussen so heis". As usual, Bonney's voice is flawless, and her sheer joy in this music is infectious. True, a steady diet of this sort of thing may grow tiresome (like dining on marzipan every evening, perhaps) but in between bouts of Wagner and Verdi it's just the thing, and absolutely ravishing. I cannot find a single thing wrong with this album, and only those who don't care for Bonney or dislike the genre will have trouble with it. Highly recommended.

Bonney sparkles in operetta recital.......2003-07-07

For fans of the great soprano Barbara Bonney, this CD is a must have! For those new to Bonney's artistry (or the world of operetta), this CD is a great beginning to what is sure to be a long romance. From the exhuberant opening track to the nostalgic closing song, Bonney's sparkling soprano is captured beautifully. The operetta repertoire gives Bonney ample opportunities to display her georgeous high notes whether in finely spun out pianissimo or in full voice splendor. Bonney's intimate manner of inflection with the German language- the colors she gives each word and phrase with a clear intention of meaning- is most remarkable. Ronald Schneider is wonderful at the piano. It is obvious to hear in the hour long recital how much fun this collaboration was for them. Tracks number 1, 8, 14, and 17 are stand-outs for their intimacy and enjoyment. I have no reservations in recommending this album to anyone, as Bonney and Schneider are in top form in this operetta recital. Their performance is sincere, authentic (just the right amount of schmaltz), and sheer pleasure for the listener!