La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra ("légende dramatique"), H. 111 (Op. 24): Part 4. D'amour l'ardente flamme
Les Troyens, opera, H. 133a: Act 1. Les Grecs ont disparu...Malheureux roi!
Les Troyens, opera, H. 133a: Act 3. Nous avons vu finir...Chers Tyriens
Les Troyens, opera, H. 133a: Act 5. Je vais mourir...Adieu, fière cite
La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra ("légende dramatique"), H. 111 (Op. 24): Part 4. D'amour l'ardente flamme
Les Troyens, opera, H. 133a: Act 1. Les Grecs ont disparu...Malheureux roi!
Les Troyens, opera, H. 133a: Act 3. Nous avons vu finir...Chers Tyriens
Les Troyens, opera, H. 133a: Act 5. Je vais mourir...Adieu, fière cite
Hérodiade, opera in 4 acts: Act 1. Ah! Salomé! dans ce palais...Ilest doux, il est bon
Hérodiade, opera in 4 acts: Act 3. Hérodiade
Dialogues des Carmélites, opera, FP 159: Act 2. Mes chères filles, j'ai encore à vous dire
Soir, song for voice & piano in D flat major, Op. 83/2
Le secret ("Je veux que le matin l'ignore le nom"), song for voice & piano in D flat major, Op. 23/3
Après un rêve ("Dans un sommeil"), song for voice & piano, Op. 7/1
Clair de lune, song for voice & piano (or orchestra) in B flat minor, Op. 46/2
Lo Fiolairé (La fileuse), folksong for voice & orchestra (Chants d'Auvergne, Series 3, No. 1)
Lou Coucut (Le coucou), folksong for voice & orchestra (Chants d'Auvergne, Series 4, No. 6)
Mélodies (2), for voice & piano, Op. 50: No. 2. C?ur en péril
Berceuse Créole
Lohengrin, opera, WWV 75: Act 1. Einsam in trüben Tagen
Régine Crespin was unquestionably one of the great sopranos of the twentieth century, although her career was marked by periods of struggle with her instrument. EMI's The Very Best of Régine Crespin is concentrated in the years 1958-1961, when Crespin enjoyed her first bloom of international fame, and in 1965, when she was locked into her first vocal crisis, something that would be apparent in her San Francisco debut the following year. Thus, the fare here ranges from radiant to struggling; she is radiant in the Rossini ...
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Régine Crespin was unquestionably one of the great sopranos of the twentieth century, although her career was marked by periods of struggle with her instrument. EMI's The Very Best of Régine Crespin is concentrated in the years 1958-1961, when Crespin enjoyed her first bloom of international fame, and in 1965, when she was locked into her first vocal crisis, something that would be apparent in her San Francisco debut the following year. Thus, the fare here ranges from radiant to struggling; she is radiant in the Rossini Guilluame Tell aria from Act III, "Sombre forêt," and struggling in the excerpts from Berlioz's Les Troyens from 1965; startling, as her most famous recording -- that of Berlioz's Les nuits d'eté for Decca in 1963 -- was made only two years earlier. While this compilation -- weighted toward French opera and song in the first disc and German in the second, with Italian songs and arias included at both ends of the package -- contains many very good things, and as a whole, it cannot be...
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