Melissa Lesnie

Melissa Lesnie

Melissa Lesnie bid a tearful farewell to Limelight in 2013 to move to Paris, where Warner Music kindly sorted her visa. She now works for Radio France and spends her spare time singing in the Latin Quarter jazz bars. Follow her adventures at @francemusique and @throwingmyarmsaroundparis.


Articles by Melissa Lesnie

CD and Other Review

Review: BAROQUE DUETS (Fiona Campbell; David Walker; Ironwood)

This collection reunites Australian mezzo-soprano Fiona Campbell and American countertenor David Walker in duet following performances with Pinchgut Opera in Vivaldi’s Juditha Triumphans and Cavalli’s L’Ormindo. The latter was the starting point for this inspired partnership, with two scenes bound to please Pinchgut devotees since the production was never recorded for commercial release. A protégé of Monteverdi, Cavalli was the most influential and prolific opera composer of the 17th century. With duets from his L’Ormindo and La Calisto framing the album, Campbell and Walker invite listeners to dine on a banquet of Italian Baroque delicacies, with a few choice excerpts from Handel’s English oratorios and operas for good… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 28, 2011
CD and Other Review

Review: STRIGGIO: Mass; Ecce beatam lucem; TALLIS: Spem in alium (I Fagiolini)

The little English early music choir with the wacky Italian name (I Fagiolini means “the beans”) has made it to the big-time with its Decca debut, which has outstripped albums by pop stars such as Eminem and Bon Jovi on the British charts. I also say “big-time” because the madrigal specialists have augmented their lineup for this premiere recording of a long-lost High Renaissance masterpiece in forty individual parts. Like Monteverdi a generation later, Alessandro Striggio was employed by the court of Gonzaga and patronised by the powerful Medicis. But his name is associated more often with Thomas Tallis, who famously heard one of Striggio’s 40-part offerings and indulged a little one-upmanship with the same polychoral forces in the famous Spem in alium.  Tallis may streak ahead of his… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 19, 2011
CD and Other Review

Review: BERIO, CAGE, BERBERIAN: Stories (Theatre of Voices/Paul Hillier)

In the post-war years of severe, avant-garde experimentation, it was music made with the human voice that was unafraid to embrace humour and joie de vivre. English choral adventurer Paul Hillier describes the spoken-word, sung, screamed and belched works (composed between 1940 and 1980) on this eclectic disc as “pieces [that] tell a story… but avoid getting to the point”. Or to take a leaf out of John Cage’s philosophy book: “I have nothing to say and I am saying it”. Literature buffs will get a kick out of Cage’s rhythmic, irritatingly catchy Story, a setting of Gertrude Stein’s Dr Seuss-esque children’s verse, “Once upon a time the world was round/and you could go on it around and around,” which pings around in fragmented repetitions as five vocalists revel in… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 19, 2011
features

Ze French love Liza with a Z!

Broadway veteran Liza Minnelli has been made an Officier of the Legion of Honour. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 12, 2011
CD and Other Review

Review: BRITTEN: Cello Symphony; Symphonic Suite from Gloriana; Four Sea Interludes (Paul Watkins vc; Robert Murray t; BBC Phil/Gardner)

The Cello Symphony was one of Britten’s few substantial pieces of abstract symphonic music, and rather than dubbing it a concerto he places the soloist on more equal footing within the orchestral texture. The orchestration is just as vivid as his music for voice, but it is also one of the composer’s most fierce and challenging scores. The Chandos sound gives much-needed warmth to this angular, thorny terrain. The cello is less forward – and more introspective – than in Pieter Wispelwey’s recent recording, maintaining Britten’s desired balance. By the same token, Paul Watkins doesn’t have quite as much bite as the work’s dedicatee Rostropovich in the 1965 premiere recording conducted by Britten. Watkins maintains edge-of-your-seat energy throughout, particularly in the gutsy Presto inquieto where his virtuosic flair is matched by profound lyricism. The third-movement cadenza and its burnished trumpet obbligato are a highlight. In the Four Sea Interludes… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

July 12, 2011