Cover Deux mezzos sinon rien

Album info

Album-Release:
2020

HRA-Release:
18.09.2020

Label: Klarthe

Genre: Classical

Subgenre: Vocal

Artist: Karine Deshayes, Johan Farjot, Delphine Haidan

Composer: Johannes Brahms (1833-1897), Charles Gounod (1818 – 1893), Frederick Delius (1862-1934), Camille Saint-Saëns (1835-1921), Jules Massenet (1842-1912), Felix Mendelssohn Bartholdy (1809-1847)

Album including Album cover Booklet (PDF)

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  • Johannes Brahms (1833 - 1897): 4 Duets, Op. 61:
  • 14 Duets, Op. 61: I. Die Schwestern01:53
  • 24 Duets, Op. 61: II. Klosterfräulein01:56
  • 34 Duets, Op. 61: III. Phänomen02:00
  • 44 Duets, Op. 61: IV. Die Boten der Liebe02:40
  • Johannes Brahms:
  • 5D'un cœur qui t'aime, CG 18504:13
  • 6Les 3 oiseaux02:42
  • 7El Desdichado03:24
  • 8Pastorale02:17
  • 9Rêvons, c'est l'heure03:39
  • 6 Duets, Op. 63:
  • 106 Duets, Op. 63: I. Ich wollt, meine Lieb ergösse sich01:44
  • 116 Duets, Op. 63: II. Abschiedslied der Zugvögel02:01
  • 126 Duets, Op. 63: III. Gruß02:04
  • 136 Duets, Op. 63: IV. Herbstlied01:51
  • 3 Mélodies, deux duos et un trio, Op. 2:
  • 143 Mélodies, deux duos et un trio, Op. 2: IV. Marine02:30
  • 153 Mélodies, deux duos et un trio, Op. 2: V. Joie02:14
  • Johannes Brahms:
  • 16Bienheureux le cœur sincère, CG 35103:41
  • 2 Duos, Op. 11:
  • 172 Duos, Op. 11: I. La nuit02:22
  • Johannes Brahms:
  • 18Pleurs d'or, Op. 7202:44
  • 2 Duos, Op. 10:
  • 192 Duos, Op. 10: I. Puisqu'ici bas toute âme02:42
  • 3 Duos, Op. 20:
  • 203 Duos, Op. 20: III. Die Meere02:44
  • Total Runtime51:21

Info for Deux mezzos sinon rien



Plunge into the depths of the most emblematic duos in the repertoire with two fantastic singers, Karine Deshayes and Delphine Haidan, accompanied by the pianist Johan Farjot. Winners of multiple awards at the Victoires de la Musique and presented on the most prestigious international stages, this release by Klarthe is not to be missed!

"Two mezzos, nothing else", is an absolutely delicious album on which the two mezzo-sopranos Karine Deshayes and Delphine Haidan sing a rather rare programme of duets from the comic, but also the more melancholic repertoire.

The two singers show a great feeling for text and music as well as gripping communicativeness by making full use of the dramaturgy of the songs. The finely guided, open and free sounding as well as contrastingly colourful voices explore the German as well as the French songs with a lot of refinement, expressiveness and always a suitable characterization." (pizzicato.lu)

Karine Deshayes, mezzo-soprano
Delphine Haidan, mezzo-soprano
Johan Farjot, piano



Karine Deshayes
After brilliant musical studies having been a pupil of Mireille Alcantara and receiving advice from Régine Crespin, Karine Deshayes first joined the troupe of the Lyon Opera, where she performed in the roles of Cherubino, Stephano, among others, and especially in her first Rossini role as Rosina.

His career quickly took off afterwards. She was invited to perform on all the major French stages: Avignon, Lyon Strasbourg, Marseille, Toulouse, Tours, Chorégies d’Orange, Bordeaux etc. She regularly performed at the Paris Opera where she won great acclaim in the Rossini roles of Angelina, Rosina, Elena, but also as Poppea in Monteverdi’s L’Incoronazione di Poppea, Sesto (in Handel’s Giulio Cesare), Romeo (in Bellini’s I Capuleti e I Montecchi ) and in the Mozart roles of Cherubino and Dorabella. It was also at the Paris Opera that she took on the title-role of Carmen for the first time, as well as the role of Charlotte in Werther.

Karine Deshayes’s career has also extended into major international stages, including the Salzburg Festival (Die Zauberflöte under the baton of Riccardo Muti), the Teatro Real in Madrid, and the Liceu in Barcelona (the title role in Massenet’s Cendrillon). At the invitation of the New York Metropolitan Opera, she debuted in the role of Siebel before returning there to play Isolier in the Le Comte Ory, and more recently, Nicklausse in Les Contes d’Hoffmann directed by James Levine, where she drew particularly rave reviews from the New York music critiques. She followed this by performing in the role of Angelina in the Cenerentola at the San Francisco Opera, again to great success.

Subsequently, she has sung the role of Donna Elvira at the Opera of Paris for the first time, a role that she made own, as the public and the critics unanimously agreed. In concert, she beautifully played the role of Elisabetta in Donizetti’s Maria Stuarda at the Avignon Opera. Karine Deshayes’s vast repertoire has allowed her to perform regularly in concert and recital under the direction of such conductors as Emmanuel Krivine, David Stern, Kurt Masur, Emmanuelle Haïm, Louis Langrée and Myung-Whun Chung, and with such artists as Philippe Cassard, Renaud Capuçon, Nicolas Angelich, L’Ensemble Contraste, the Quatuor Ebène, the Mahler Chamber Orchestra, and many more.

At the Victoires de la Musique Awards in 2016, Karine Deshayes was named Lyric Artist of the Year for the second time in her career.

Recently, she was onstage a great Adalgisa (Norma) at the Madrid Teatro Real and Charlotte in a concert version of Werther at the Moscow Tchaïkovsky Concert Hall. She sang for the first time the part of Concepción (L’Heure Espagnole) in a concert at the Bordeaux Opera, the title-role of Rossini’s Armida, with a triumph, at the Montpellier National Opera and of Alceste at the Lyon National Opera. She was also Roméo (I Capuleti e i Montecchi) at the Marseille Opera. In concert, Rossini’s Stabat Mater at the Saint-Denis Festival and the part of Elvira (I Puritani) at the Montpellier Radio France Festival.

This season, she will make her debut as Marie de l’Incarnation (Dialogue des Carmélites) at Brussels La Monnaie Theater and in the title-role of Semiramide at the Saint-Etienne Opera. She will also perform the role of Stephano (Roméo et Juliette) at the New York Metropolitan Opera and the title-role of Cenerentola in concert at the Paris Théâtre des Champs-Elysées.

Delphine Haidan
Holder of a master’s degree in musicology from the Sorbonne, a Prix degree from the CNSM in Paris and many awards from international competitions, Delphine Haidan was trained at the Paris Opera’s Ecole de Chant.

She has acquired as much experience abroad (at the Glyndebourne Festival, the Vienna Musikverein and Konzerthaus, the Maestranza in Seville, Dresden, Grenada, Santander, Tel Aviv, Lisbon, Barcelona, London’s Royal Albert Hall, Ghent, Antwerp, Brussels, Rotterdam, Edinburgh, Glasgow, Moscow, Tokyo, and Bogota) as in France (Opéra National de Paris, Théâtre des Champs-Elysées, Opéra Comique, Théâtre du Châtelet, Capitole de Toulouse, Grand Théâtre de Bordeaux, Metz…). She has worked with conductors such as Michel Plasson, James Conlon, Neeme Jarvi, John Nelson, Ivor Bolton, Myung-Whun Chung, Kent Nagano, Jesus Lopez Cobos, Emmanuel Krivine, Vladimir Fedosseiev, Edo de Waart, Christophe Rousset, Emmanuelle Haim, William Christie, Charles Dutoit, Alain Lombard and Nikolaus Harnoncourt.

She has been involved in many productions at the Opéra National de Paris, including Carmen (Mercedes),Les Contes d’Hoffmann (the Muse/Nicklausse), Don Giovanni (Zerlina), Der Zwerg (Die Dritte Zofe), andL’Enfant et les Sortilèges (la Chatte, l’Ecureuil).

Her discography includes a recording of Lakmé for EMI and Carmen (Mercedes) for Decca (Myung-Whun Chung), Paul Le Flem’s Aucassin et Nicolette (la Récitante) for Timpani and Une fête baroque with Emmanuelle Haim and the Concert d’Astrée.

Her recent performances include Meg Page (Falstaff), the Abbess and La Ciesca (Il Trittico), as well as Suzuki (Madama Butterfly) at the Tours Opera and ath the Reims Opera, Métella (La Vie Parisienne) at the Opéra du Rhin and La Mère, La tasse Chinoise, La Libellule (L'enfant et les Sortilèges) at the Scala of Milan.

Booklet for Deux mezzos sinon rien

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