Famous Arias and Duets from Bizet, Verdi and Puccini
Label Decca Classics – Deutsche Grammophon
Opera Heroines, Heroic Women, Women’s Stories
The repertoire: the greatest arias and duets of Italian and French opera and “A Lyric trip around the most beautiful stories of French literature”
La Boheme de Puccini
(Scènes de la vie de boheme – Roman d’Henri Murget)
La Traviata de Verdi
(La Dame aux Camélias – Roman d’Alexandre Dumas)
Carmen de Bizet
(Carmen une Nouvelle de Prospère Merimee)
Nathalie Manfrino (Soprano)
Anaïk Morel (Mezzo)
Jean-François Borras (Tenor)
Etienne Depuis (Bariton)
Enregistré avec l’Orchestre Régional d’Avignon Provence.
Direction : Samuel Jean.
1/ Prélude Carmen
2/ Mi chiamano Mimi – La Bohème (Nathalie Manfrino)
3/ Che Gelida manina – La Bohème (Jean-François Borras)
4/ Un di, felice, eterea – La Traviata (Borras / Manfrino)
5/ L’amour est un oiseau rebelle (Habanera) – Carmen (Anaïk
6/ Votre toast, je peux vous le rendre – Carmen (Etienne Dupuis)
7/ O soave fanciulla – Bohème (Borras / Manfrino)
8/ Prélude Traviata
9/ Ah ! Dite alla giovine – La Traviata (Dupuis / Manfrino)
10/ Donde lieta usci – Bohème (Manfrino)
11/ Près des remparts de Séville (Séguedille) – Carmen (Morel /
12/ La fleure que tu m’avais jetée – Carmen (Borras)
13/ Di provenza il mar – Traviata (Dupuis)
14/ Addio del passato – Traviata (Manfrino)
HEROINS OF LIFE
What are the common points between La Traviata by Giuseppe Verdi (1854), Carmen by Georges Bizet (1875) and Giacomo Puccini’s La Bohème (1896)?
The most famous works of the lyric repertoire but especially these 3 scores are between the adaptations of the French literary masterpieces: Alexandre Dumas’ Lady with Camellias (1848), Prosper Mérimée’s Carmen (1847) and Scènes de la Vie Bohemian Henry Murger (1851). So many portraits of women who marked their era through their history, offering a journey to the heart of romanticism, a journey to the second half of the nineteenth century.
More than 150 years separating us from this period that put these emotions centered on the center of all Art. What remains of romanticism today? For soprano Nathalie Manfrino, the opera today, more than ever, plays its role liberating emotion, if we consider the enthusiasm of the public. The genre has never disappeared and tends to return to the front of the stage. The essence of the project “Opera: A love story” and lies. “With this recording, we wanted to create a Romanesque Opera, a kind of Imaginary Opera with a real musical tragedy built from the best scores of composers of the time, the tradition that was already in the Baroque era. It is a bias that allows to highlight, with a coherent dramaturgy the destiny of three women emancipated, sublimated by the music of composers of genius “.
Violetta, Carmen, Mimì. Three characters who, despite their different social conditions, nonetheless remain modern women who renounce their lives for Love and decide to take their destiny into their own hands. “These are above all free women, explains Nathalie Manfrino. Strong women with a broken destiny, devoured by passion, whom I have loved to defend throughout my career. I did it with even more commitment and identification because more than a century and a half after their creation, their feminine condition is not so far from what we are living today. A universal question remains, how to exist as a free and loving woman and no longer as a victim against the dams of society? When you play these fates of women, you have to understand their suffering in order to reach the public. You have to go through these steps yourself to grow and surrender on stage. The life of a singer is in her way a true sacrifice. The passion of the voice brings you to have a life different than the others, made of travels, meetings but also of renunciations. A little like those three women who dare to impose themselves against the established order and the will of their Fathers. ”
To make this project a reality, it was important to surround ourselves with a new generation of singers ready to follow the adventure and show their common passion. The Opera may have been more than 400 years since the creation of Orfeo by Monteverdi (1607), it remains as current. “With mezzo-soprano Anaïk Morel, tenor Jean-François Borras and baritone Etienne Dupuis, we have formed a young team with an unparalleled openness, all ready to look forward while inspiring of our elders and past recordings. The opportunity also to present to the public the four main tessitions that are often found in the ideal of opera, continues Nathalie Manfrino.
To create this imaginary story, it was necessary to find the perfect balance between the tunes, while respecting the codes of the Opera. The first Act begins with Carmen Prelude to capture the public’s attention. Following is the presentation of each character and a declaration of love; in this case the most beautiful, that of La Bohème between Rodolfo and Mimì. “But as everyone knows, the Opera often ends badly, adds Nathalie Manfrino. By starting the second Act by the Prelude of Traviata, one immediately feels that the story will go wrong. First by the confrontation between Father Germont and Violetta in Traviata, then between Don Jose and Carmen, until the inevitable farewells of Mimì and Violetta.
By staying true to themselves, these women show an unparalleled will at a time when their freedom could be constantly violated and repressed. Modern and avant-garde, these women had to constantly win against a male society that left little room for gender equality. Through the sublimation of Verdi music, Bizet and Puccini have helped to change the status of women. These masterpieces have the power over the soul to cross epochs. Today, the fight continues and we will always need these extraordinary women to inspire us. At each time, his battles but “In this we will always Violetta, Mimi and Carmen. “Concludes Nathalie Manfrino.