Susan Graham ~ Berlioz - Les nuits d'été

I have been listening to Berlioz' song cycle for nearly thirty years, and have heard most of the famous recordings: Teyte, Danco, de los Angeles, Steber, Janet Baker, Jessye Norman et al. Formerly, it was only Baker who penetrated the poetry of the lyrics...the "old" French style was to simply sing in a straightforward manner with no particular inflection, a style that Teyte and Danco worked to perfection. But the advent of such "chanson" singers as Gerard Souzay, Regine Crespin and Gabriel Bacquier changed all that, their approach was more specifically poetic. That is the approach that Graham uses here, and I find that it works beautifully.Only in "Villannelle" does one hear the simple, straightforward style of Teyte or Danco. Almost immediately, in "Le Spectre de la Rose," one is hit with the meaning and feeling of Gautier's poetry...and one is literally swept away in the passionate performance of Graham and her conductor, John Nelson. I agree with the reviewer who said that the orchestra is somewhat recessed in sound, but Nelson brings out so many felicitous details that it inevitably doesn't matter....and, unlike Baker, Graham is a mezzo-soprano who can sing "Nuits d'Ete" in the original key, adding a soprano luster and sweep to her performances....and the opera arias are equally well sung. Highly recommended!!

Just beautiful! Her voice and this album is marvelous! When I purchased this album, I had heard her voice over the radio and I knew I had to buy it.

Lovely songs, superb artist.

My first reaction on listening to this disc was one of genuine appreciation for such a steady, secure, even voice, essentially beautiful and mellow in production and capable of tackling these wondrous songs in their original key even though it is a genuine mezzo-soprano with a light, vibrant but tonally dark centre. However, contrary to a previous reviewer, I did not find Graham's voice to be especially large or resonant in the challenging space of the Royal Opera House, Covent Garden and I wonder if that is why the balance here is slightly too tipped towards her rather than being equally balanced with the orchestra; hence some instrumental detail is slightly recessed or obscured.I have previously admired John Nelson's Berlioz but here he seems slightly restrained to match the classical poise and understatement of his elegant singer; hence there is little especially striking in these performances beyond a generalised loveliness. No song is particularly differentiated from another and to be honest, I found my attention wandering when usually I am riveted by these most engaging of melodies.The rest of the programme is of plums from Berlioz's operas and dramatic cantatas. Graham sings in impeccable French and seems wholly at home in the idiom. However, in the last analysis, I do not find that she has the capacity to capture the special magic I hear in versions by Janet Baker or Frederica Von Stade.

I have taken a long time to get round to obtaining this recording. I noticed the other day that Graham is listed to sing her first Didon in the next couple of years. Not her first staged Berlioz, but probably the biggest single challenge for a soloist in this particular repertoire. It was for the opera arias, rather than the songs, that I wished to have this record.But the song cycle is truly a knockout. These songs have long been a favourite, and just about every singer I can think of has had a go at them. Recent stand-out performances include Cecilia Bartoli, Ann Murray and, on record, Veronique Gens. The beauty of Berlioz is that the range and orchestration he uses, as well as the sheer potential for interpreting the lines, allows many different kinds of singer to tackle his work. Graham has perhaps the ideal Berlioz voice these days - a soprano-ish mezzo, with dark, brooding tone that can bloom into bright, sunny lines without strain. She is a really intelligent, thinking singer who uses words to colour the sound. Her partnership here with John Nelson is highly fruitful, and makes for a modern classic (to puit on the shelf with Norman, Gorr and Crespin, naturally).No disappointments in the opera numbers either. Anyone who has heard her work in operetta (some lovely records out just recently, in fact) will recognise the sexy, teasing quality she brings to Benedict and to the Cellini number. Back on the tragic side of the coin, her Marguerite is suitably overwrought and the sense of regret she brings to the number is palpable. Dido is the pick of the bunch - rightly - and the combination of robust, furious tone and serene rememberance of her "nuit d'ivresse" is heart-stopping.So - time to record Les Troyens with Graham, I believe. Not very sure who else would feature on this "Fantasy Recording" - answers on a postcard, please!

Susan Graham is currently being celebrated for her masterful interpretation of Didon in Berlioz' LES TROYENS so it is interesting to return to this 1997 all Berlioz recording made with John Nelson and the Orchestra of the Royal Opera House. The highlight is naturally the incomparably beautiful song cycle `Les nuits d'été ` and that sensuous glow in Graham's voice which was there in abundance for this recording has blossomed even more. She is currently in Los Angeles with Renee Fleming for a joint salon recital in Disney Hall of all French music, which hopefully they will record.Included on this all Berlioz CD are scenes from `La damnation de Faust', `Benvenuto Cellini', `Béatrice et Bénédict' as well as her now personally owned `Les Troyens'! She is an artist of great depth and in addition to her vocal brilliance she is a fine actress and a performer who is able to enchant her audience. This recording is one of her finest. Grady Harp, January 13

My first reaction on listening to this disc was one of genuine appreciation for such a steady, secure, even voice, essentially beautiful and mellow in production and capable of tackling these wondrous songs in their original key even though it is a genuine mezzo-soprano with a light, vibrant but tonally dark centre. However, contrary to a previous reviewer, I did not find Graham's voice to be especially large or resonant in the challenging space of the Royal Opera House, Covent Garden and I wonder if that is why the balance here is slightly too tipped towards her rather than being equally balanced with the orchestra; hence some instrumental detail is slightly recessed or obscured.I have previously admired John Nelson's Berlioz but here he seems slightly restrained to match the classical poise and understatement of his elegant singer; hence there is little especially striking in these performances beyond a generalised loveliness. No song is particularly differentiated from another and to be honest, I found my attention wandering when usually I am riveted by these most engaging of melodies.The rest of the programme is of plums from Berlioz's operas and dramatic cantatas. Graham sings in impeccable French and seems wholly at home in the idiom. However, in the last analysis, I do not find that she has the capacity to capture the special magic I hear in versions by Janet Baker or Frederica Von Stade.

Tout à fait conforme aux attentes.

Magnifique voix. Susan Graham est faite pour cette musique, je ne connais pas de meilleur enregistrement. A recommander aux amateurs de Graham même si l'on n' apprécie Berlioz pas autant que moi.