This is a far departure from the blaring bass roles of Mozart, Rossini, Berlioz, Saint-Saëns or Wagner, or the extravagant Baroque music I was often asked to sing. It represents a complete contrast, a quiet look at a certain “secret garden,” and of course a more intimate and introspective way of singing with words was required. This is just one of the songs from the complete cycle ‘Mirages, opus 113’ which we selected for that all-Fauré album recorded with Dalton back in the day.
Although I am posting this to honor two friends in particular whom I lost this summer, in doing so it’s a time for me to show my gratitude to many others. With deep respect for those great singers who inspired me on those wonderful old 78s and vinyls when I was growing up; and thanks to the one and only John Moriarty who taught us to love and strive for the skill of singing in other languages.
Mark Pearson at NEC was the teacher who first introduced me to French song literature, and who made possible my working with the immense Eleanor Steber. Thanks and gratitude for the privilege of working with Gait Sirguey on so many programs in French, and to Patricia Brinton who is the reason I moved to Paris, and who deserves my gratitude if only for introducing me to my irreplaceable rock, Craig Rutenberg..
Thanks also to monsieur Pierre Bernac himself for his great insight and encouragement; to the great and generous Gérard Souzay, also to Camille Maurane and Michel Dens along the way, and the forever incandescent Irène Aïtoff.
Finally, special thanks to Jacques who was there for every take of this recording, and who was so appreciated by Dalton Baldwin himself for such marvelous and sensitive preparation and coaching.
“Non, je ne regrette rien,” I would do it all again.