DISCOGRAPHY

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DETAILS

Composer: MEYERBEER Giacomo
Soloist(s): Annick Massis, Bruce Ford, Daniela Barcellona, Alastair Miles, Fabio Previati, Pauls Putnins, Colin Lee, Roland Wood
Conductor(s): David Parry
Orchestra(s): London Philharmonic Orchestra
Number: ORC25
Choir(s): Geoffrey Mitchell Choir
Released: 2003
Label: OPERA RARA
Buy this cd at opera-rara.com


REVIEWS
langThe cast is generally first-rate, led by the soprano Annick Massis, effortlessly stylish and engaging as Marghertia.
Guardian newspaper
5 September 2003
Andrew Clements
langThe cast is excellent, each singer relishing the difficulties of Meyerbeer’s writing and triumphing over them. As Margherita, sorprano Annick Massis just keeps on going up and up.
BBC Music Magazine
December 2003
George Hall
langBeautifully packed and performed, by a blue-chip cast under period expect Parry, this tale of royal skulduggery in the Scottish countryside is the third Meyerbeer rarity from his latterday champions at Opera Rara, and a must for all serious collectors.
The Observer newspaper
28 September 2003
Anthony Holden
langAs the lady of the title, Annick Massis is luminous of tone, neither shrill nor think. She too has the vocal agility to dazzle in the intricate passages which Meyerbeer has composed, yet delicate treatment is brought to bear on Margherita’s inward reflections. Massis sings delightfully, easily tackling the range and the ornamentation.
International Record Review
November 2003
John T Hughes
lang''Annick Massis displays a voice that if anything becomes more beautiful the higher it goes and it goes very high: Margherita has one of those ornate scenes with obsequious violin obbligato. (We also hear the revised version of this aria, “Dolce Albergo di Pace,” in the recording’s appendix.) Massis has the Caballé-like ability to skitter over quick notes at a soft dynamic without smudging them, and her Italian is enunciated in an attractively light, forward manner.''
OPERA NEWS
WILLIAM R. BRAUN
March 2004 , vol 68 , no.9
langAs Marghertia, soprano Annick Massis is perfect – she’s a great under-recorded (and under-famous) singer, with a beautiful tone (she ends Act 1 on a high-D that’s not only impressive, but rounded and lovely) and spectacular agility.
Classicstoday.com
March 2004
Robert Levine
langOpera Rara has again assembled a first-rate cast. Massis copes easily with the high-flying effusions or Margherita.
American Record Guide
March/April 2004
Parsons
langBest of the Year – pick of recordings
Annick Massis in the high, high, high-flying title role of Margherita d’Anjou.
Opera News
January 2005
lang...Annick Massis affronte son destin de reine déchirée entre sa patrie et ses amours et son fils;très à l'aise vocalement..., volubile et virtuose, jamais avare de phrasés exquis et de nuances , elle est la séduction même, avec cette noblesse instinctive qui sied à son personnage, et cette pudeur dans l'expression qui la rend touchante dès son air d'entrée... Miei fideli !''.....
Diapason
janvier 2004
Michel Parouty
lang''the soprano Annick Massis, effortlessly stylish and engaging as Margherita'' Andrew Clements
Friday September 5, 2003
lang''Annick Massis deserves more than a paragraph as Margaret. This is the purest of light-toned sopranos, with an almost superhuman ability to sing coloratura, and her Act II cavatina, accompanied by a swooping violin, was an extraordinary display of control and considered phrasing. It’s the kind of thing that can seem purely an exercise in display (Meyerbeer, no great tunesmith, goes in a lot for arpeggiated melodies) but in Massis’s hands this had real heart''
The Times November 4, 2002 by Robert Thicknesse

up coming dates
Février 14, 2020
La voix Humaine | Elle
Théâtre du Capitole de Toulouse

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LUCREZIA BORGIA
Théâtre du Capitole de Toulouse 


 



Nous attendions beaucoup de la première Lucrezia Borgia d’Annick Massis , nouvelle étape d’un parcours donizettien marqué de superbes réussites (Lucia di Lammermoor, Maria di Rohan, Maria, Stuarda….) Mais la soprano française, connue pour sa retenue et son irréprochable correction vocale et stylistique, nous a totalement pris par surprise en se jetant dans le rôle avec une fougue et une intensité inédite . La précision du chant , la perfection de la technique, le sens des nuances, la variété du phrasé, la facilité de l’aigu, sont toujours au rendez-vous. Ce qui étonne , c’est la violence des accents, en particulier dans l’affrontement avec Alfonso, à la fin de l’acte I, et dans la scène finale. Grâce à un registre grave libéré de toute entrave, Annick Massis endosse avec un aplomb stupéfiant les atours de la grande tragédienne romantique, en évitant tout effet expressionniste dans l’expression de la haineux de la douleur. Après un pareil  accomplissement , on rêve de l’entendre en Paolina de Poliuto , Parisina où Gemma di Vergy , voire, pour sortir de Donizetti, en Semiramide où Imogene d’Il Pirata. Surtout on aimerait qu’elle revienne à Maria Stuarda pour compléter un portrait certes convaincant (à Marseille comme à Monte Carlo), mais un peu trop tourné vers l’aspect victimaire de la Reine d’Ecosse.



RICHARD  MARTET | Opéra Magasine 



 

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