Secrets Marianne Crebassa

• Claude Debussy (1862 - 1918): 3 Chansons de Bilitis, L. 90:
• 1I. La Flûte de Pan02:26
• 2II. La Chevelure03:07
• 3III. Le Tombeau des Naïades02:54
• Maurice Ravel (1875 - 1937): Shéhérazade, M. 17:
• 4I. Asie08:43
• 5II. La Flûte enchantée02:59
• 6III. L'Indifférent03:15
• Claude Debussy (1862 - 1918): 3 Mélodies de Verlaine, L. 81:
• 7I. "La mer est plus belle que les cathédrales"02:11
• 8II. "Le son du cor s'afflige vers les bois"02:48
• 9III. "L'échelonnement des haies moutonne à l'infini"01:31
• Maurice Ravel (1875 - 1937): Vocalise-étude en forme de Habanera, M. 51:
• 10Vocalise-étude en forme de Habanera, M. 5102:54
• Gabriel Fauré (1845 - 1924): Fauré: Mirages, Op. 113:
• 11I. Cygne sur l'eau03:23
• 12II. Reflets dans l'eau04:16
• 13III. Jardin nocturne02:46
• 14IV. Danseuse02:12
• Henri Duparc (1848 - 1933): Mélodies:
• 15XIII. "Au pays où se fait la guerre"05:04
• 16VII. Lamento03:16
• 17X. Elégie02:56
• 18IX. Chanson triste03:05
• Fazil Say (1970 -):
• 19Gezi Park 309:24
• Total Runtime01:09:10

Info for Secrets

Mezzo-soprano Marianne Crebassa and pianist Fazıl Say share some tantalising, captivating and sensuous Secrets in this album of songs, centred on Debussy’s Trois Chansons de Bilitis, Ravel’s Shéhérazade and Fazıl Say’s own Gezi Park 3 – which he and Crebassa premiered in 2014. Describing the recording sessions, Marianne Crebassa says: “Sometimes we worked in a kind of trance … there were some moments when nothing seemed to exist around us …”

Secrets includes Debussy’s discreetly erotic Trois Chansons de Bilitis, settings of texts by Pierre Louÿs that were inspired by ancient Greek literature, and Ravel’s sumptuous Shéhérazade, three contrasting songs that conjure up exotic moods rather than retelling the stories of the 1001 Nights. They are joined by a work by Fazıl Say that is inspired by his native Turkey, but which moves away from the spirit of legend and fantasy: Gezi Park 3 belongs to a series of works that he composed in response to the momentous civil protests that took place in in Istanbul in June 2013. Say and Crebassa gave its premiere in Bremen in September 2014, where it was heard as a ‘Ballad for mezzo-soprano, piano and orchestra’. Crebassa’s part is a wordless vocalise and the work is recorded here in a version for voice and piano.

Marianne Crebassa, mezzo-soprano
Fazıl Say, piano

Marianne Crebassa
In 2008 whilst studying musicology, voice and piano in Montpellier, Marianne Crebassa, then just 21, was engaged by Opéra de Montpellier for Schumann’s Manfred conducted by Hervé Niquet. Since then, she has been invited to the Opera and the Festival de Radio France for projects including Pizetti’s Fedra, Debussy’s Le Martyr de Saint Sebastian conducted by Alain Altinoglu, and Bellini’s Zaira, Verdi's La Traviata, and Lehar’s Friederike conducted by Lawrence Foster.

In 2010, following a critically acclaimed appearance as Isabella Linton in Bernard Herrmann’s opera Wuthering Heights at the Festival de Radio France, Ms. Crebassa began a two-year contract with Paris Opera’s young artists programme, the Atelier Lyrique. May 2011 saw her debut in the title role of Gluck’s Orphée in the Atelier’s annual opera production. In 2011-2012, she appeared in productions of Lulu and Rigoletto on the main stage and sang her first Ramiro (La Finta Giardiniera) with the Atelier. July 2011 saw her return to the Festival de Radio France and Montpellier to sing the title role of Halevy’s La Magicienne conducted by Lawrence Foster.

In August 2012 Marianne Crebassa made her debut at the Salzburg Festival as Irene in Handel's Tamerlano conducted by Marc Minkowski and starring Plácido Domingo. She soon returned to Salzburg for the Mozart Festwochen in a new production of Lucio Silla with Rolando Villazón. The production was also played at the 2013 festival. Concert engagements in 2014 took her to the Musikverein Vienna for Le Martyr de Saint Sebastien, the Gulbenkian Foundation Lisbon for Berlioz’s Roméo et Juliette and the Bremen Festival for a revival of Lucio Silla.

During the 2013-2014 season, Marianne Crebassa sang Dorabella (Cosi fan tutte) in Montpellier and Siebel (Faust) in Amsterdam; new productions and concert engagements took her to the Festival de Saint Denis, the Théâtre des Champs Elysées and on a European tour with Les Musiciens du Louvre. Summer 2014 marked her return to the Salzburg Festival, this time singing the title role in a new opera written by Marc-André Dalbavie based on the life of Charlotte Salomon.

Most recently, Crebassa made noted debuts at La Scala in Lucio Silla and at the Berlin Staatoper in a new production of Le Nozze di Figaro conducted by Gustavo Dudamel. In Salzburg, she returned to the Mozart Festwochen for an exciting project based on the music from Mozart’s oratorio Davide Penitente, directed by Bartabas and conducted by Marc Minkowski. In concert she sang Berlioz’s Roméo et Juliette with the Orchestre National de France conducted by Daniele Gatti, and Ravel’s Schéhérazade with the Orchestre du Capitole de Toulouse. She appeared with Les Musiciens du Louvre in a gala concert to mark the opening of the Philharmonie in Paris, as well as making her American debut with the Chicago Symphony Orchestra in L’enfant et les Sortilèges under the direction of Esa-Pekka Salonen.

Future engagements include Le nozze di Figaro in Vienna (her Staatsoper debut), Amsterdam and Milan (La Scala), Roméo et Juliette in Chicago, La clemenza di Tito with the Opéra de Paris, and the title role of Fantasio with the Opéra-Comique in Paris.

Booklet for Secrets