A glorious bit of memorabilia from a sadly forgotten soprano
Anthony Burkes Garza | 05/10/2005
(5 out of 5 stars)
"Mady Mesple is one of the best kept secrets of the music industry today. Of course, when you're singing around the same time as Joan Sutherland you're rather likely to be overshadowed. Still, Mesple offers a wealth of musical goods that even Sutherland never could have given. Not only is her coloratura technique virtually flawless, she (gasp)inflects every word she sings with great sensitivity to the text, never losing grasp of the character she is striving to portray. Of course, she does have a rather controvertial aspect to her voice that many listeners may object to, As a classic french coloratura, her vibrato is VERY fast, fluttering tremulously at all times but never getting in the way of her pitch. Still, her high notes are exceptional (the second CD ends with a glorious high A flat) and the fresh, girlish beauty of her tone is unsurpassed even today (my apologies to Natalie Dessay). Be sure not to miss her Bell Song, by FAR the best I have ever heard! Her voice has a crystaline quality that is PERFECT for that particular aria. Her Doll Song is rather weak, but her mad scene from Hamlet MORE than makes up for it (can we say eight seconds of beautiful high F harp?!!). The second CD offers Mady in a more matura phase of her life, singing sensuously in more traditional art songs before going on to challenging operetta arias. And you won't want to miss the violin, viola, cello, soprano quartet that opens the CD!!! Let's just say you're in for a surprise... this CD is a must-have!"
A long-awaited retrospective
cherubino | Houston, Texas United States | 05/09/2005
(4 out of 5 stars)
"Most opera fans know of Mady Mesple via her moderately successful portrayal of Lakme. Her career overlapped that of Joan Sutherland, but she is not nearly as well known. Those with a taste for coloratura singing are urged to buy this recital. Mady Mesple comes from a school of French operatic singing that is diminished today. Sure, we have all heard various sopranos essay the French arias on disc one, but rarely with such clarity of diction, as we get from this native Frenchwoman. It took a long time for another French coloratura to surface, i.e. the incredible Natalie Dessay.
As far as the Bell Song goes, I am not overly fond of Mesple's interpretation. I prefer the ripe fullness of Joan Sutherland, or the pure, limpid quality of Natalie Dessay. In fact, I place Dessay's full-length recording over Sutherland's. Mesple is an old-fashioned coloratura, who "twitters." Still, her other arias are superlative. Juliet's Waltz is exquisite, not just for the pacing and delivery, but for Mady's charming, clear diction. Je Suis Titania le Blonde is capped with a must-hear-to-believe high note. I'm not sure, but I think it's a high F. In any case, it's way, WAY up there!!! She uses that high note again in other arias.
Unlike Joan Sutherland, Mady Mesple sings most of the coloratura "come scritto". The Doll Song is an example of this. Still, in the repeat of the aria, she truly sounds like an emotionless doll, staring straight ahead. On other occasions, she adds her own cadenzas. The Mad Scene from Lucia di Lammermoor is an example. Some of the cadenza with the flute is unlike what I've ever heard before.
As for the other Italian arias, I don't think she is as successful, only because being a French Coloratura specialist, her tone is too bright. Ah, Non Credea Mirarti has none of the tragic, elegaic quality that Callas and Sutherland impart. In addition, since she limited her roles, Mesple's voice never darkened or ripened, as we are witnessing today with Natalie Dessay. Now, the one aria that I wish I could have heard is Norina's aria from Don Pasquale. I think Mesple would have essayed that aria wonderfully in Italian.
Mesple had a rather small voice of limited color and shading. Still, her limpid, crystalline coloratura is a joy. Bravo to EMI for finally giving us a recital of hers to enjoy."
Mady Mesplé's wonderful album
Paul Kao | Sacramento, CA USA | 08/30/2005
(5 out of 5 stars)
"I felt a sense of awe listening to Mady Mesplé's voice. Of the two CD set, I much prefered CD #1 as #2 was a bit too modern for me. #1 has many of my favorite soprano arias, and Mlle. Mesplé did them all justice."
The artistry and allure of a French nightingale
M. Ramos | 06/02/2007
(5 out of 5 stars)
"This is one of the rare cases when the title of a CD matches completely its content. The Very Best of Mady Mesplé showcases the amazing talent and legacy of the beautiful lady that was the star coloratura soprano of the Paris Opera during the second part of the twentieth century. The first CD is dedicated to opera arias, and only a hearing of the first number, The Bell Song from Delibes' Lakmé, gives us a summary of what makes Mesplé so special. There is hardly a more musical or virtuosic version than the one presented here (from her complete recording of the opera). The legend is presented by the soprano with engaging interest and great attention to the words. The bell refrains are amazingly fast, with diminutive stacatti, a great trill and ravishing high notes. The final cadenza is very exciting, ending with a firm, beautiful high E that soars triumphally over the orchestra. All these qualities are present when she is singing Juliette, Philine, Ophélie and Olympia. Particularly on this last aria she conveys in her voice the illusion of hearing an automaton instead of human being and there is no ornamentation except on an interpolated high Eflat at the end. It is remarkable how Mesplé always is musical with her ornamentation. The Italian arias that end the first Cd are very pretty, even though they are not as successful, given the distinctive sound of the soprano, more in her element with the nuances of her native language than the legato singing that is proper to the belcanto style. However, the arias are still lovely, specially Una voce poco fa, where Mesplé showcases not only her high register but also the lower part of her voice by singing the first part of "Io sono docile" exactly the way it is written. CD number 2 takes the listener to a totally different aspect of Mady Mesplé's artistry with incursions into contemporary music, a Baroque cantata, French art song and French operetta. The Quartet no.2, for soprano, violin, viola and cello is a very demanding piece where the soprano becomes another instrument: dissonant and difficult intervals are required in all the registers of the voice. The soprano succeeds on this as well as the motet by Vivaldi, a totally different number of equal difficulty. A great part of the CD is then dedicated to songs by Poulenc, Hahn and Satie, where the singer perfectly conveys the mélodie style with her very distinctive sound, that can convey all degrees of emotion, from innocence to worldliness. Specially remarkable are Poulenc's Le chemin de l'amour, Hahn's Si mes vers avait des ailes and Satie' La diva de l'empire. The final part of the CD is dedicated to French operetta arias, a very important part of Mesplés discography. All the selections are a delight. It is worth noticing that she recorded the virtousic aria from Massé's Les noces de Jeanette in 1981, in the later part of her career and there is no difference in the sound and technique from Mesplé's debut recordings. The CD ends in a high note (literally and metaphorically) with a delightful waltz by Johann Strauss where she ends with a stunning Aflat over high C. In summary, this is a superb presentation of the career of Mady Mesplé, a singer who was not only one of the most stunning coloraturas of all time, but also a gifted and versatile artist."
One of the warmest coloraturas ever!
Peter Chordas | Portland, OR USA | 03/13/2008
(5 out of 5 stars)
"I can not explain in words what this woman does to me! Her voice is as pure as gold. No shrieking as if someone had to step on her foot to make sure she hit the high notes. Wikipedia writes: "Mady Mesplé was a high soprano with a very distinctive timbre, she was renowned for her technical security, her musical refinement, and her amazing upper register extending easily to high A flat. She was also noted for her charming stage presence."
All of which is very true but I would also ad that her lower register is just as beautiful. Her duet and solo arias in Lakme are most memorable as well. Beverly Sills may have dominated the scene but Mesple deserves equal recognition. Don't miss this recording."
Track Listings (10) - Disc #1