Composer: Fleurs
Works: jetées: Songs by French Women Composers
Performers: Rebecca de Pont Davies (mezzo-contralto), Clare Toomer (pianoforte)
Recording: Recorded in St. Paul’s Church, New Southgate, London, no date, published 1996
Label: LORELT LNT109
The album “jetées: Songs by French Women Composers” presents a remarkable survey of the highly expressive and often underrepresented works of four notable composers from the 19th and early 20th centuries: Augusta Holmès, Nadia Boulanger, Cécile Chaminade, and Pauline Viardot-Garcia. This collection not only showcases their individual contributions to the art song repertoire but also reflects the broader cultural currents of their time, when women’s voices were beginning to emerge more forcefully in the landscape of classical music. Each composer brings a distinct flavor to the table, providing a rich tapestry of emotional nuance, lyrical beauty, and technical sophistication.
Rebecca de Pont Davies’s voice, described as a “mezzo-contralto,” is particularly well-suited to the lush textures of the repertoire, characterized by its sumptuous timbre and resonant low register. The opening track, Holmès’s “La belle Madeleine,” demonstrates her ability to convey deep emotion with a slow, deliberate pacing that allows the notes to blossom richly. This is a voice that speaks with gravitas; however, it is also marked by a certain unwieldiness, as noted in her slightly languorous approach to phrasing. De Pont Davies’s sound takes its time to settle into each note, drawing out the expressive potential of Holmès’s melodic lines. The effectiveness of this technique is evident in “Sérénade printanière,” where the singer’s voice dances delicately over the piano’s shimmering textures, creating a captivating dialogue.
Clare Toomer’s piano accompaniments complement de Pont Davies exceptionally well, providing a nuanced support that enhances the vocal lines without overshadowing them. The sonic balance achieved in the recording is commendable, allowing the listener to appreciate the intricate interplay between voice and piano. This is especially notable in Nadia Boulanger’s “Élégie,” where the piano’s soft, reflective passages provide a backdrop to the singer’s heartfelt expressions. However, the interpretation of Boulanger’s works, particularly those co-composed with Raoul Pugno, sometimes suffers from a lack of conciseness. The expansive nature of these songs can feel indulgent, making the performance occasionally meander instead of maintaining a focused emotional trajectory.
Chaminade’s contributions to the album offer a refreshing contrast, showcasing a lighter touch and more spirited character. In “Chanson slave,” the use of chest tones is striking, providing an intense contrast to the more ethereal qualities exhibited elsewhere. De Pont Davies navigates these shifts with skill, demonstrating her versatility and ability to adapt her vocal technique to the demands of the music. The choice to include “Rêve d’un soir” highlights her command over both lyrical and dramatic elements, allowing her to float seamlessly between the two.
While the richness of de Pont Davies’s voice is undoubtedly a strong asset, the overarching sultry languor across many of these selections may leave some listeners yearning for a greater variety of interpretative nuance. The more extroverted pieces by Viardot-Garcia, such as “Bonjour mon coeur” and “Sérénade florentine,” allow her to embrace a more animated character, revealing the full spectrum of her vocal capabilities.
The recording quality itself is commendable, capturing the warmth of the mezzo-contralto voice while maintaining clarity in the piano’s timbral qualities. The acoustic environment of St. Paul’s Church lends a natural resonance that enhances the overall listening experience, although some passages could benefit from a slightly crisper definition to fully delineate the complexities of the harmonic textures.
This collection of songs by French women composers, interpreted by Rebecca de Pont Davies and Clare Toomer, is a significant contribution to the exploration of a rich yet often overlooked repertoire. The album invites listeners to engage with the emotional depths and artistic intricacies of these pieces while showcasing de Pont Davies’s formidable vocal talent. Through her nuanced interpretations, she offers a compelling perspective on the music of these composers, ensuring that their voices resonate with contemporary audiences. The album is thus a valuable addition for those seeking to broaden their understanding of the art song canon, especially within the context of women’s contributions to classical music.
