GABRIEL FAURÉ : The Complete Songs, Vol. 1 : Au bord de l'eau (2005) FLAC (image+.cue), lossless

The first volume of Hyperion's complete Fauré songs is called "Au bord de l'eau" (by the water's edge) -- a reference to the French master's fondness for aquatic, nautical, and natural subjects in poetry, as well as to the title of one of his most famous songs. Having decided against a purely chronological survey of Fauré's songs, an approach that would have progressed from the lyrical outpourings of the composer's youth to the much thornier works of his later years, pianist Graham Johnson and Hyperion have instead divided the songs into thematic groups -- in the case of this first volume, songs that make poetic or musical reference to nature, water, sailing, and so on. Organizing the songs in this way sheds light on themes that ran throughout the composer's creative life, and happily avoids the academic cheerlessness that often ruins complete editions.
From a musical standpoint this is a good, but not great, collection. All of the singers, from veterans like Felicity Lott to relative newcomers like Christopher Maltman, deliver polished and secure performances, and Graham Johnson accompanies them all with sensitivity, if not always great involvement. But the all-English cast's French is often too sharply articulated to pass for authentic, and there is a generalized lack of atmosphere, of je ne sais quoi. That said, there are certainly some high points. Geraldine McGreevy and Stella Doufexis' "Tarantelle" brings a welcome wit out of Johnson at the keyboard, and shows a playful, almost Offenbach-like, side of Fauré that is often overlooked. And Stephen Varcoe's understated Mirages takes top honors for French style with its even-keeled lyricism and soft, almost caressing approach to phrasing and diction. Johnson's liner notes are some of the most accessible and informative that you'll find in any song collection. by Allen Schrott  

 

GABRIEL FAURÉ : The Complete Songs, Vol. 2 : Un paysage choisi (2005) FLAC (image+.cue), lossless

 

GABRIEL FAURÉ : The Complete Songs, Vol. 3 : Chanson d'amour : Love song (2005) FLAC (image+.cue), lossless

Volume 3 of Hyperion's four-volume set of the complete songs of Gabriel Fauré is dedicated to his love songs -- unsurprisingly, a subject near and dear to the hearts of fin de siècle composers, and one that seems especially effective in Fauré's sweetly perfumed style. His chansons d'amour are tasteful, gently impassioned settings of poems by Romantic and Symbolist writers, the best known being Victor Hugo, Charles Baudelaire, and Paul Verlaine; though others of less renown received music of equal artistry, and Fauré's consistent excellence makes even modest versifiers seem like poets of genius. The performances by sopranos Felicity Lott and Jennifer Smith, tenors John Mark Ainsley and Jean-Paul Fouchécourt, and baritones Christopher Maltman and Stephen Varcoe lend great variety to this installment, and keep the program lively; since its amorous content could easily slide into monotony with only one singer, a mix of interpretations is the right way to go. Their accompanists, Graham Johnson and Ronan O'Hora, also contribute to the highly varied textures and moods of this album, though in rather understated playing that never upstages the singers. Hyperion's sound quality is pleasant overall, though a little variable due to the different engineers, venues, and acoustics. by Blair Sanderson 

 

GABRIEL FAURÉ : The Complete Songs, Vol. 4 : Dans un parfum de roses (2005) FLAC (image+.cue), lossless

Okay, so, no, the Hyperion French Song edition's four-volume survey of the complete songs of Fauré won't replace EMI's complete edition. But then, how could it? Featuring the ethereal Elly Ameling and the heroic Gérard Souzay along with stalwart accompanist Dalton Baldwin, the set was in its time and remains for all time the gold standard of postwar Fauré singing. That said, yes, even though it won't replace the gold standard, volume four of the complete Fauré on Hyperion has many merits and deserves to be heard by anyone who loves the music. First among its merits is the rich and soulful voice of soprano Jennifer Smith in the opening Le papillion et la fleur and again in the closing La chanson d'Eve. Second are the three brief but lovely appearances by soprano Felicity Lott, especially her achingly beautiful Le parfum impérissable. Third are the sensitive and subdued accompaniments of Graham Johnson, the skillful pianist who found a steady gig recording the collected songs of just about everybody for Hyperion. Less compelling is light-voiced baritone Stephen Varcoe in Nocturne and thin-toned Jean-Paul Fouchécourt in Aubade. Although those who already have the Ameling/Souzay/Baldwin recordings might not be tempted to turn to these recordings as a first choice, they will be gratified and satisfied if and when they do hear it. Hyperion's sound is clear, close, and warm. by James Leonard