Search - Johannes Brahms, Marie-Nicole Lemieux, Nicolo Eugelmi :: Marie-Nicole Lemieux ~ Brahms Lieder

Johannes Brahms, Marie-Nicole Lemieux, Nicolo Eugelmi
Marie-Nicole Lemieux ~ Brahms Lieder
Genres: Pop, Classical

Track Listings (21) - Disc #1
1. No.1 Therese
2. No.2 Feldeinsamkeit
3. No.3 Nachtwandler
4. No.4 Uber Die Heide
5. No.5 Versunken
6. No.6 Todessehnen
7. No.1 Klage I
8. No.2 Klage II
9. No.3 Abschied
10. No.4 Des Liebsten Schwur
11. No.5 Tambourliedchen
12. No.6 Vom Strande
13. No.7 Uber Die See
14. No.8 Salome
15. No.9 Madchenfluch
16. No.1 Gestillte Sehnsucht
17. No.2 Geistliches Wiegenlied
18. No.1 Denn Es Gehet Dem Menschen...
19. No.2 Ich Wandte Mich...
20. No.3 O Tod, Wie Bitter Bist Du...
21. No.4 Wenn Ich Mit Menschen Und Engelszungen Redete...

CD Details

All Artists: Johannes Brahms, Marie-Nicole Lemieux, Nicolo Eugelmi
Title: Marie-Nicole Lemieux ~ Brahms Lieder
Members Wishing: 0
Total Copies: 0
Label: Analekta
Release Date: 4/6/2007
Genres: Pop, Classical
Styles: Vocal Pop, Opera & Classical Vocal, Historical Periods, Baroque (c.1600-1750)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 774204990626

Synopsis

Album Description

Marie-Nicole Lemieux started her career on a high note. In 2000, at the age of 24, she won the Queen Fabiola Prize (1st Prize) in Brussels, as well as the Special Lied Prize at the Queen Elisabeth International Music Competition of Belgium. The Canadian, American, and European medias have nothing but high praise for Ms. Lemieux. Nicolò Eugelmi, one of the best violists in Canada, is greatly appreciated by the critics and public alike for his style, presence, virtuosity, and his remarkable performances.

CD Reviews

Disappointing

J Scott Morrison | Middlebury VT, USA | 11/06/2004

(3 out of 5 stars)

"I raved about the singing of Canadian contralto Marie-Nicole Lemieux in a release earlier this year of Baroque music (Scarlatti 'Salve Regina', Vivaldi 'Stabat Mater') with Jeanne Lamon's Tafelmusik. Here we have Ms Lemieux in an entirely different realm, lieder of Brahms. And I'm afraid I have to cast a negative vote. The voice is innately beautiful, incredibly rich and at times thrilling, but a mannerism has crept into Ms Lemieux's singing that I find irritating, particularly if one listens to several songs in sequence. Any time she sings a longish note above a mezzo forte there is a gentle attack following by a, to me, enormous swell which she then backs off of. It's enough to make one seasick. In softer songs (as 'Therese' from Op. 86) this is not nearly so noticeable. But when she gets to rather more expressive songs like the lovely 'Feldeinsamkeit,' the anguished 'Über die Heide,' both from Op. 86, or the dramatic 'Mädchenfluch,' from Op. 69, the mannerism is intrusive. Perhaps this is her way of expressing emotion. But if one listens to, say, Christa Ludwig in this same repertoire one is relieved not to have to endure such a bumpy ride. Further, Lemieux's interpretations seem otherwise rather generic as compared to others'. Her pianist, Michael McMahon, a name new to me, is sensitive but a bit reticent. Violist Nicolò Eugelmi, in the two Op. 91 songs ('Gestillte Sehnsucht' and 'Geistliches Wiegenlied') is a huge plus.

Scott Morrison"