Patricia Petibon

Patricia Petibon – La traversée (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 53:34 minutes | 975 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

On her new album for Sony Classical, the versatile soprano Patricia Petibon presents fascinating portraits of female heroines from Purcell, Mozart, Gluck to Verdi and Offenbach. For a long time, the French soprano Patricia Petibon has been celebrated worldwide for her musical versatility on the opera stage. So she shines and fascinates with her silver-bright and at the same time nuanced voice in the Baroque opera as well as in the great Mozart parts and also feels at home in some of Verdi’s parts. This multifaceted nature and her wide range of expressions are also reflected in her new album “La Traversée”. The title can be translated in German here with “crossing” or better “transfer”. In this sense, Patricia Petibon would also like to have the program understood. “Past, present, future form a whole, interconnected by transmission. The epic story of tragic heroines, which is constantly repeated, is what connects the times, ” says Patricia Petibon. The musical spectrum of the arias and songs on “La Traversée” ranges from works by Purcell, Rameau, Handel and Gluck to Mozart to Verdi and Offenbach. The accompanying, renowned La Cetra Baroque Orchestra under the direction of Andrea Marcon can also be heard with the “Passacaglia della vita” by Stefano Landi.
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Patricia Petibon – L’Amour, la Mort, la Mer (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:24 minutes | 1,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical

With her new programme “L’amour, la mort, la mer” Patricia Petibon flies freely from one register to another, from one language to another, and from one style to its exact opposite. However, she does base her repertoire around her own personal journey. This is what grants her seemingly eclectic style the consistency of an unparalleled performance. It is less a recital than a story that unfolds from one composer to the next—a secret story of grief, travel, and solitude. In this way, she echoes the idea underpinning Saint- John Perse’s poem, Amers: “The tragedians came down from the quarries. They raised their arms in honour of the sea.” In this poem, the tragedians travel to the seashore in search of inspiration and the renewal of their art. Their request is far from nostalgic; they come with a hope of salt on their lips and the taste for a revitalised present. Art and singing must sometimes contend with the horizontal cosmos of the ocean horizon to reach greater heights.
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