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RECORDINGS OF THE YEAR Solo Vocal ‘Secrets’ French songs Marianne Crebassa mez Fazıl Say pf Erato F 9029 57689-7 (12/17) Producer Daniel Zalay Engineers Hugues Deschaux Sponsored by Even in this year’s exceptionally distinguished Solo Vocal shortlist, ‘Secrets’ has proved revelatory in several ways. Beautifully programmed, it surveys the fin-de-siècle mélodie from Duparc to Fauré and reflects on the power of music to unlock the secrets of the Symbolist poetry to which many composers of the period were drawn. More importantly, however, it marks Marianne Crebassa’s emergence as a major interpreter of French song and captures what is clearly a remarkable partnership with Fazıl Say. You get a real sense of singer and pianist as equal partners, forming an indivisible expressive unit. Crebassa’s silky tone and discreetly suggestive way with words combine with Say’s refinement to give us one of the sexiest Chansons de Bilitis on disc and a benchmark performance of Fauré’s troubling Mirages. Their Duparc, meanwhile, broodingly intense and overtly post-Wagnerian, really gets under your skin and Say’s own vocalise Gezi Park 3, its inclusion deemed controversial by some, allows us to hear every facet of Crebassa’s technique and her astonishing range of vocal colour. It’s a great recital, and a more than worthy winner. Tim Ashley Marianne Crebassa at the 2018 Gramophone Classical Music Awards ceremony 36 GRAMOPHONE RECORDINGS OF THE YEAR 2018 Click on a CD cover to buy/stream from gramophone.co.uk

RECORDINGS OF THE YEAR

Solo Vocal

‘Secrets’ French songs Marianne Crebassa mez Fazıl Say pf Erato F 9029 57689-7 (12/17) Producer Daniel Zalay Engineers Hugues Deschaux

Sponsored by

Even in this year’s exceptionally distinguished Solo Vocal shortlist, ‘Secrets’ has proved revelatory in several ways. Beautifully programmed, it surveys the fin-de-siècle mélodie from Duparc to Fauré and reflects on the power of music to unlock the secrets of the Symbolist poetry to which many composers of the period were drawn. More importantly, however, it marks Marianne Crebassa’s emergence as a major interpreter of French song and captures what is clearly a remarkable partnership with Fazıl Say.

You get a real sense of singer and pianist as equal partners,

forming an indivisible expressive unit. Crebassa’s silky tone and discreetly suggestive way with words combine with Say’s refinement to give us one of the sexiest Chansons de Bilitis on disc and a benchmark performance of Fauré’s troubling Mirages. Their Duparc, meanwhile, broodingly intense and overtly post-Wagnerian, really gets under your skin and Say’s own vocalise Gezi Park 3, its inclusion deemed controversial by some, allows us to hear every facet of Crebassa’s technique and her astonishing range of vocal colour. It’s a great recital, and a more than worthy winner. Tim Ashley

Marianne Crebassa at the 2018 Gramophone Classical Music Awards ceremony

36 GRAMOPHONE RECORDINGS OF THE YEAR 2018

Click on a CD cover to buy/stream from gramophone.co.uk

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