Marie-Nicole Lemieux ~ L'heure exquise

Excellent CD in good condition. Just what I was hoping for.

This is the only readily available solo disc by the thirty-year-old contralto despite contributions to several baroque releases. She shows a remarkable affinity for the music of Hahn, whose songs are most represented of the composers chosen. Although not supplanting the revelatory album of Susan Graham, Lemieux's mix of familiar and more obscure melodies by that quintessential Parisian prove she commands the subtlety of nuance and precarious balance between classicism and sensuality that his music evinces. Tempi are on the brisk side, which does not preclude a coherently narrative version of Trois jours de vendage, which can seem episodic in other readings. The five songs to Robert Louis Stevenson texts are given a performance neither sentimental nor studied, a clear notch above the only competition on disc. Daniel Blumenthal's accompaniments avoid indulgence almost to a fault, though listeners who find this repertoire's sweetness potentially cloying will thank him. (The wrong bass note near the end of A Chloris is inexplicable, however.)The archaically tinged Enesco songs- no trace of Romania here- and eerie Chausson works (compare his setting of Verlaine to Hahn's L'heure exquise) were wonderful introductions for me, while a group of three short Debussy settings make for the strongest stylistic contrast within in the program.Hopefully Lemieux will make further recorded forays beyond the eighteenth century.

Marie-Nicole Lemieux ~ L'heure exquise Lemieux will guarantee a L'heure exquise if you appreciate the principally Impressionist repertoire of Chausson, Reynaldo Hahn et altri. This canadian alto/mezzo sings in her native language and she is as exquisite as the wonderful material she performs with pondus and vocal beauty of stunning proportions.Like Orgonasova, the amazing but sadly underrated light Slovac soprano, Lemieux seems to live in the shadow of the contemporary fashionable model look alike divas that produce endless recordings, technically remastered to perfection.With Lemieux there is no showing off, only honest mastery of whatever she decides to sing. I cannot think of any greater contemporary Chausson, Debussy,Enescu or Hahn interpreter, possibly in company with Gens, but talent and skill is not enough to create a fix star or Lemieux would be on the charts interminably.Her artistry is outstanding and her renditions impeccable. This recording is one of the most endearing for decades. She is simply marvelous with a tessitura to die for.I do not know what it takes to have the audiencies discovering her unique talent. She should be up there at the very centre of attention of music lovers together with Norman, Stemme, Bartoli and Kozena.Obviously the criteria for what dictate the creation of mega star is random or Lemieux would be one of the best selling mezzos ever...

Marie-Nicole Lemieux, a qúebécoise not yet into her thirties, has a voice in a million. She burst on the recording scene with a CD of Handel arias, then sang a glorious Orlando in Vivaldi's 'Orlando furioso,' and then put out a less successful CD of Brahms lieder. Now she's back with a well-chosen clutch of mélodies by Georges Enesco, Reynaldo Hahn, Ernest Chausson and Claude Debussy. The CD is called 'L'Heure exquise' after the drop-dead beautiful Hahn song of that name, and for me it is the highlight of the disc. Lemieux's creamy tones embrace the bewitching verses and leave one almost stunned with their beauty. The same is true in Hahn's baroque-ish 'À Chloris.'Debussy's 'Fêtes galantes II,' set to ephemeral verses by Paul Verlaine, are a little less successful, although Lemieux is able to fine down the voice to an impressionistic whisper in 'Les ingénus' and 'Le faune.' One must mention the absolutely superb accompaniment supplied by pianist Daniel Blumenthal, a marvelous soloist in his own right.I was not at all familiar with the Enesco's 'Sept chansons de Clément Marot' (the poet little known to anglophones until memorialized so trenchantly in Douglas Hofstadter's book about the perils of translation, 'Le Ton beau de Marot') and they are a real find. I particularly like No. 3 'Aux damoyselles paresseuses d'escrire a leur amys' ('To the Damsels that are too lazy to Write to their Suitors') with its fetching piano accompaniment and the light-hearted but frustrated suitor's complaint. 'Estrene de la rose' ('The Gift of the Rose') could have been written by Debussy. Such luscious whole-tone harmonies to support the verses about Venus and Adonis.Chausson's songs have been marvelously recorded by the likes of Felicity Lott and Ann Murray and Lemieux has real competition here. Still, the quality of her voice is so scrumptious that her somewhat mushy diction does not particularly detract, but she does not get the meaning across nearly as well as the two British singers. This is odd when you consider that French is Lemieux's first language.This disc is a much better effort that the immediately preceding Brahms lied disc in which there were some troublesome mannerisms. They seem to be absent here.You must hear this voice. At times it reminds me of that of her countrywoman, Maureen Forrester, although it is not quite as large and is a good deal more flexible. She's a comer alright.Scott Morrison

Beautifully textured voice !

La contralto québecoise Marie-Nicole Lemieux, que j'ai découverte dans ses superbes duos de Haendel magnifiquement interprètés en compagnie de sa compatriote la soprano Karina Gauvin, nous offre ici un délicat et profond programme de mélodies françaises avec piano de Chausson, Debussy, Reynaldo Hahn et Georges Enesco. Les textes, principalement de Verlaine, mais aussi de Baudelaire, Clément Marot, Théophile de Viau, Victor Hugo et Alphonse Daudet font- partie des poèmes les plus beaux et les plus connus de la littérature française (L'Albatros, le vieux parc solitaire et glacé...). La sublime heure exquise de Verlaine est traitée à la fois par Reynaldo Hahn et par Chausson (apaisement). L'idée était excellente de rapprocher ces quatre musiciens plus ou moins contemporains, qui en tout cas se sont rencontrés, mais dont les styles fort différents suivent des courants parfois opposés; le résultat est un panorama très exhaustif de la renaissance de la musique française vers 1890 /1914. A cette belle époque, le rayonnement de ce qui fut la culture française permettait de susciter chez un roumain (Enesco) ou un vénézuélien (Hahn) un style véritablement français au point qu'ils comptent parmi nos grands artistes. Ravissant clin d'oeil à une autre époque précieuse, "A Chloris" a été mis en musique par Reynaldo Hahn de façon très plausible dans le style du XVIIème siècle français pour la partie chantée (l'accompagnement pianistique ayant un je-ne-sais quoi de J.S. Bach). Marie-Nicole Lemieux est superbe, elle chante magnifiquement l'amour dans les textes des poètes (et n'hésite pas à nous livrer sur la pochette la candeur immaculée et sensuelle de son dos nu à la chair délicate comme un pétale de catleya). Vive le Québec!

Le Dieu Verbe secoue le paresseux et réveille le dormeur. En effet, celui qui vient frapper à la porte veut toujours entrer. Mais cela dépend de nous s'il n'entre pas toujours ou s'il ne demeure pas toujours. Que ta porte soit ouverte à celui qui vient; ouvre ton âme, élargis les capacités de ton esprit, afin de découvrir les richesses de la simplicité, les trésors de la paix, la douceur de la grâce. Dilate ton cœur ; cours à la rencontre du soleil de la lumière éternelle qui « illumine tout homme. » (Jn 1,9). Il est certain que cette lumière véritable brille pour tous; mais si quelqu'un ferme ses fenêtres, il se privera lui-même de la lumière éternelle. Donc même le Christ reste dehors, si tu fermes la porte de ton âme. Certes, il pourrait entrer, mais il ne veut pas s'introduire de force, il ne veut pas contraindre ceux qui le refusent. Issu de la Vierge, sorti de son sein, il irradie tout l'univers, afin de resplendir pour tous. Ceux qui désirent recevoir la lumière qui brille d'un éclat perpétuel lui ouvrent; aucune nuit ne viendra l'interrompre. En effet, le soleil que nous voyons chaque jour cède la place aux ténèbres de la nuit; mais le Soleil de justice (Ml 3,20) ne connaît pas de couchant, car la Sagesse n'est pas vaincue par le mal.

cette voix est tellement engagée tellement chaude tellement vibrante elle m envoûte