LEONCAVALLO Nuit d.mai Lang Lang Domingo


La Nuit de mai

Opernarien und Lieder
Opera Arias and Songs

Barcarola veneziana
Valse mignonne
Plácido Domingo
Lang Lang
Orchestra del Teatro
Comunale di Bologna
Alberto Veronesi
Int. Release 08 Feb. 2010
0289 477 6633 9
CD DDD 0289 477 6633 9 GH
Plácido Domingo Uncovers Musical Jewels
in Leoncavallo Rarities

Track List

Ruggiero Leoncavallo (1857 - 1919)
La Nuit de mai

Orchestra del Teatro Comunale di Bologna, Alberto Veronesi


Plácido Domingo, Orchestra del Teatro Comunale di Bologna, Alberto Veronesi

Orchestra del Teatro Comunale di Bologna, Alberto Veronesi

Plácido Domingo, Orchestra del Teatro Comunale di Bologna, Alberto Veronesi


Orchestra del Teatro Comunale di Bologna, Alberto Veronesi

Plácido Domingo, Orchestra del Teatro Comunale di Bologna, Alberto Veronesi

Orchestra del Teatro Comunale di Bologna, Alberto Veronesi

Plácido Domingo, Orchestra del Teatro Comunale di Bologna, Alberto Veronesi




Plácido Domingo, Lang Lang


Lang Lang

Total Playing Time 1:00:23

Unstoppable Spanish tenor Plácido Domingo is back with a tantalizing selection of non-operatic treats by Ruggero Leoncavallo . . . Domingo, 69, is in amazing voice, and the rich accompaniment is nicely handled by conductor Alberto Veronesi and the Orchestra del Teatro Comunale di Bologna. Lang Lang sensitively accompanies on five songs and gets two piano solos to cap the disc. The pianist holds himself back elegantly, respectfully. The most beautiful song is "Hymne à la lyre", about how music enchants the soul. Domingo and Lang do exactly that.

. . . Plácido Domingo in clarion voice, Lang Lang as sensitive pianist and Alberto Veronesi as vibrant conductor with the Orchestra del Teatro Comuale di Bologna.

[Domingo is] still amazingly ringing . . . Lang Lang's fluent touch makes the piano solos and accompaniments very pleasant . . . Orchestra and conductor are suitably idiomatic.

. . . I found the two piano works thoroughly charming, particularly the way Lang plays them. He is truly in his element here: playful and elegant, finding just the right mode of expression without trying too hard to make more of them than they are. His use of rubato and rallentando is simply delicious. One can almost smell the waft of summer evening air as he plays. Bravo, Lang Lang!

. . . relishing the challenge, Domingo shakes off any sense of routine generalisation . . . He invests in the role, dramatically, vocally. He takes risks and the voice responds magnificently, like a vintage car that thrives on use. There is burnished gold to the tone . . . all the old charisma is there . . . An extraordinary feast, this, of, and for, young and old, but young and old particularly . . . Young (or relatively young) Leoncavallo works his fingers to the bone playing piano in the cafés of Paris and sounds as though he loves it. Relatively old Domingo sings with the voice of the young poet and really does love it! This is an astonishing performance, even for him . . . He can still sing with the fervour of youth but also with its flexibility, its ease and grace of movement. And, typically, he demonstrates all of this in something new . . . Lang Lang
plays with (alternately) the lingering fingers of old nostalgia and the headlong impetuosity of youthful adventure.

. . . by any standard he has achieved impressive vocal longevity.

The voice is still evenly produced, with its warm burnished tone and solid production values still preserved . . . But the basic glowing sound remains as it always has been. As if that weren't enough, Domingo continues to learn new repertoire, and to sing with a deep sense of commitment . . . As a bonus, DG gives us six songs by Leoncavallo, beautifully sung by Domingo and very sensitively accompanied by Lang Lang . . . Alberto Veronesi and his Bologna orchestra clearly understand the idiom and seem genuinely inspired by the occasion. DG provides very informative notes. The recorded sound is excellent; neither the tenor nor the orchestra dominates, and the sound balances clarity with warmth perfectly . . . This is a delightful and important recording.

Ganz entzückend sind die beiden Klavierstücke »Barcarola veneziana« und »Valse mignonne« . . . wenn sie so feinfühlig und mit so viel Gusto für Fin-de-siècle-Dekadenz gespielt werden wie von Lang Lang, dann werden daraus kleine Juwelen.

Plácido Domingo ne cessera de surprendre. Alors qu¿il "baritone" autour du monde avec le rôle-titre de Simon Boccanegra, le ténor s¿attaque à une ¿uvre insolite et rare. N¿ayant plus rien a prouvé de son talent, le voilà qui s¿expose en s¿attaquant non seulement à une rareté vériste, mais encore, en s¿emparant de la langue française qu¿on lui savait ne pas être parmi ses chevaux de bataille . . . Quand on entend la richesse de cette partition, on est surpris qu¿elle soit restée jusqu¿ici pratiquement inconnue du public . . . il y a fort à parier qu¿on ne tardera pas voir cette magnifique ¿uvre au programme de futurs concerts de par le monde. Le ténor y apparaît dans une forme éblouissante. Soignant sa diction française, il dialogue avec sa générosité habituelle avec un orchestre plein de nuances. Qui aime l¿extraordinaire intermezzo de Pagliacci aimera les poèmes symphoniques qui alternent les chants de Plácido Domingo. Dans cet enregistrement dédié au compositeur napolitain, cinq mélodies pour voix et accompagnement de piano sont laissées aux talents conjugués de Domingo et du pianiste Lang Lang . . . les mélodies sont belles, et Domingo les chante superbement.

Alberto Veronesi s'emploie à lui conférer pleins et déliés, couleur et respiration. Le ténor-poète égrène le texte original selon une prosodie respectueuse de la métrique francaise et d'un mélodisme tour à tour ardent et sombre . . . un phrasé exemplaire . . .