The three poems of Mallarmé count among the most advanced harmonic works of Ravel. The choice of the instrumental ensemble seems to have been dictated by the "Pierrot Lunaire" of Schoenberg, at least by what was reported to Ravel since he had no opportunity to hear it.
I've always thought it a shame, that an avantgarde composer like Ravel didn't make it mandatory that the innovations in composition were matched by innovations in vocal production i.e the way singers sing. It is bizarre to me that the "Chansons Madecasse", for example, should be sung in these awful dowager voices. A work like the "3 Poemes..." are much too delicate for these oversized "trombones".Vocally and phonetically the modern classics are stuck in the 18th + 19th century. We still today have "avantgarde" composers performed with voices that go with Mozart Operas or Wagner or Verdi. For all the anti-wagnerianism that Ravel indulged in he didn't see the problem of the voices.A rare exception, I believe, is De Falla who composed some pieces explicitly for "natural" flamenco singers. I'm not suggesting this is THE solution, but a fundamental reappraisal of what voices can or should do in modern "classical" music is rife. For instance the genre could learn from vocal techniques offered by the bulgarian singers or indian singers. The knowledge of these techniques should go into modern singing teaching. I dream of the day when singers start going completely new ways in this regard. I would like to hear the unearthly quality of Rave'ls music matched by equally unearthly voices, with a gentler Sound and yet more natural diction. Why not have throaty french "R's" instead of the pompous rolling "R's". To hell with these conventions!
+Matthew Forte Perhaps you'd like to instigate an experiment in ´regard to the above mentioned. You seem to be in a MUCH better position than I to do so... I'd love to hear the results :-)
Excellent? Really? The woman can't count to save her life, her pitches and rhythms are, in some places, downright WRONG, and don't even get me started on the her terrible vocal production. The conductor's beats are also flowery at best. This is THE Ensemble Intercontemporain, for crying out loud. Surely they can do better! At least the first violinist is very easy on the eyes, a small consolation indeed.
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Nora formidable bravo belle musicalité et timbre charmant
A beautiful rendering. Brava.
what a beautiful voice!!!!!!!!
Stellar! Ravel is the best. Thanks for sharing.
The three poems of Mallarmé count among the most advanced harmonic works of Ravel. The choice of the instrumental ensemble seems to have been dictated by the "Pierrot Lunaire" of Schoenberg, at least by what was reported to Ravel since he had no opportunity to hear it.
Great performance!
schön!!!! Beautiful!
Bravo excellent .
cosmic
This is the sound the contemporary art songs composers have been copying for decades, but merely imitative of what a "modern" sound should be,
Very good instrumentalists. The sopranos is often too massive for the many pp in the score.
To my ears she gives superlative attention to the dynamics, shapes the lines beautifully.
@ do you know the score? I do.. Believe me. That is not the best version of of this piece.
I've always thought it a shame, that an avantgarde composer like Ravel didn't make it mandatory that the innovations in composition were matched by innovations in vocal production i.e the way singers sing. It is bizarre to me that the "Chansons Madecasse", for example, should be sung in these awful dowager voices. A work like the "3 Poemes..." are much too delicate for these oversized "trombones".Vocally and phonetically the modern classics are stuck in the 18th + 19th century. We still today have "avantgarde" composers performed with voices that go with Mozart Operas or Wagner or Verdi. For all the anti-wagnerianism that Ravel indulged in he didn't see the problem of the voices.A rare exception, I believe, is De Falla who composed some pieces explicitly for "natural" flamenco singers. I'm not suggesting this is THE solution, but a fundamental reappraisal of what voices can or should do in modern "classical" music is rife. For instance the genre could learn from vocal techniques offered by the bulgarian singers or indian singers. The knowledge of these techniques should go into modern singing teaching. I dream of the day when singers start going completely new ways in this regard. I would like to hear the unearthly quality of Rave'ls music matched by equally unearthly voices, with a gentler Sound and yet more natural diction. Why not have throaty french "R's" instead of the pompous rolling "R's". To hell with these conventions!
+TheSweetsOfSin Agreed on all counts!!!
+Matthew Forte Perhaps you'd like to instigate an experiment in ´regard to the above mentioned. You seem to be in a MUCH better position than I to do so... I'd love to hear the results :-)
I completely agree with you
Do you like upshaw's version?
I'm sure you could've done much better, dude
*Debussy Mallarme* True yes, Philip, the tradition has been lost, it sounds all wrong, soupir sung like a side order for soup. Unlistenable to.
Excellent? Really? The woman can't count to save her life, her pitches and rhythms are, in some places, downright WRONG, and don't even get me started on the her terrible vocal production. The conductor's beats are also flowery at best. This is THE Ensemble Intercontemporain, for crying out loud. Surely they can do better! At least the first violinist is very easy on the eyes, a small consolation indeed.
+Phillip Cheah Indeed the Ensemble Intercontemporain. Worrying! Also one would wish for a more experimental Approach (see my other comments above...
I agree. The singer was no good choice. You need a singer with the talent to sing pp and more technical control about her voice.