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Reviewer:
Edward Breen
Having established the superiority of the voice, it is fitting that soprano Clara Coutouly sings so engagingly throughout this programme. Her warm tone has a beauty and bloom that infuses even the most mournful of texts with a plethora of subtle hues. In Verdelot’s Ardenti miei sospiri, for example, she leans into those soft onomatopoeic sighs with heart-rending subtlety. Dadre’s recorder-playing steps up to this mark with great panache, displaying his impressive versatility; but, ironically, in doing so he also proves that Ganassi had a good point about voices, for what Coutouly does with tone – the darker hues in particular – she can do without affecting pitch. Again, Ardenti miei sospiri offers a useful example since pitch drifts noticeably during the first two notes of the opening recorder phrase. But this is a disc that also champions Ganassi’s extremely virtuoso style of ornamentation, and here Dadre is a supremely impressive artist. In fact, the whole Doulce Mémoire team play with a stylish fluency that negotiates various staggeringly intricate manoeuvres with wonderful flair. I particularly enjoyed their instrumental version of Verdelot’s Igno soave which, when cross-referenced with their previous vocal performance (‘Le siècle du Titien’ – Naïve) shows what an exciting ensemble they are. |
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