Mozart & The Weber Sisters Sabine Devieilhe

• Wolfgang Amadeus Mozart (1756–1791): Prologue : La Confidence Naïve, Ou L’attente
• 1 Mozart: Les petits riens, K. 299b: Overture 03:20
• 2 Mozart: Ah, vous dirais-je maman, K. 265 02:54
• 3 Mozart: Dans un bois solitaire, K. 308 03:21
• 4 Mozart: Musik for the Pantomime Pantalon and Columbine, K. 446: Adagio 01:17
• Aloysia, Mia Carissima Amica
• 5 Mozart: Alcandro, lo confesso... Non so d'onde viene, K. 294 09:03
• 6 Mozart: Vorrei spiegarvi, oh Dio, K. 418 06:44
• 7 Mozart: Popoli di Tessaglia... Io non chiedo, eterni dei, K. 316 10:10
• 8 Mozart : Nehmt meinen Dank, K. 383 03:26
• Josepha, Ou L’entrée Dans La Lumière
• 9 Mozart: Kanonisches Adagio, K. 410 01:37
• 10 Mozart: Schon lacht der holde Fr?hling, K. 580 07:35
• 11 Mozart: Die Zauberfl?te, Act 2, K. 620: Der H?lle Rache (K?nigin der Nacht) 02:42
• 12 Mozart: Thamos, K?nig in Aegypten, K. 345: No. 5 Entr'acte 03:23
• Per Mia Cara Costanza
• 13 Mozart: Die Zauberflöte, Act 2, K. 620: March of the Priests 02:57
• 14 Mozart: Solfeggio, K. 393: No. 2 in F Major 02:54
• 15 Mozart: Mass in C minor, K. 427: Et incarnatus est 11:00
• Total Runtime 01:12:23

Info for Mozart & The Weber Sisters

The Weber Sisters is rooted in Mozart’s life story and includes music inspired by Aloysia, Konstanze and Josepha Weber, three soprano sisters whom Mozart first met in the German city of Mannheim in 1777, when he was 21. Though he initially fell in love with Aloysia, who went on to become a celebrated diva, it was Konstanze who became his wife; she outlived him by nearly 50 years and did much to sustain and build his reputation after his death. The programme comprises songs, operatic and concert arias and orchestral numbers, and Sabine Devieilhe’s interpretations are typified by beauty of tone, a penetrating sense of drama and a scrupulous respect for the score and the text. Three of the highlights are: the concert aria ‘Popoli di Tessaglia’ – written for Aloysia – which rises to spectacular heights (specifically, the G two-and-a-half octaves above middle C); the sublime ‘Et incarnatus est’ from the C minor Mass – premiered in Salzburg by Konstanze, and ‘Der Hölle Rache’, written for Josepha as the second fireworks-filled aria of the Queen of the Night in Die Zauberflöte, a role that has brought triumphs for Sabine Devieilhe at the opera houses of Lyon and Paris. Her colleagues on this album are the Ensemble Pygmalion, the keyboard player Arnaud de Pasquale and the conductor Raphaël Pichon.

Sabine Devieilhe, soprano
Pygmalion
Raphael Pichon, conductor

Sabine Devieilhe
After having studied cello and musicology, Sabine Devieilhe received the First Price unanimously with the congratulations of the jury from the Paris Conservatoire National Supérieur de Musique et de Danse in 2011. She studied with Jocelyne Chamonin, Martine Surais, Pierre Mervant, Malcolm Walker or Kenneth Weiss, Anne Le Bozec, Susan Manoff and Olivier Reboul.

A Member of several Ensembles like Pygmalion (cond. Raphaël Pichon) and Les Cris de Paris (cond. Geoffroy Jourdain), she performs a large repertory from ancient music to contemporary music. As a fervent of Lied and mélodie, she uses to perform recitals with Anne Le Bozec.

Sabine Devieilhe made her debut on stage as Lucia/Le Viol de Lucrèce at the Paris CNSM followed by Lauretta/Gianni Schicchi (staged by Jean-Michel Fournereau) and Yniold/Pelleas et Melisande (staged by Vincent Vittoz) at the festival Messiaen.

Two striking meetings with Jean-Claude Malgoire and Alexis Kossenko let her approach the baroque repertory from Bach to Rameau, among others at the Utrecht, Bruges Festivals, at the Atelier Lyrique in Tourcoing or at Paris Théâtre des Champs-Elysées.

The 2010-11 season is marked by a new production of L’enfant et les sortilèges with the ONDIF (dir. David Levi), a Bernstein concert at Paris Salle Pleyel with the Orchestre de Paris, a Mozart concert with the Soloists of the Montpellier National Orchestra in Nîmes, a new production of DARDANUS (Ensemble Pygmalion under Raphaël Pichon) at the Beaune International Baroque Music Festival & at the Versailles Opera etc… 2011-12 she approaches the bel canto repertoire singing her first Amina/LA SONNAMBULA with l’Atelier Lyrique in Tourcoing, makes her debut with Les Arts Florissants at Paris Cité de la Musique and performs Bach St John’s Passion with La Grande Ecurie & La Chambre du Roy.

The enthusiasm of her first engagements offers her numerous opportunities : she makes her debut at the Aix-en-Provence Festival as Serpetta/LA FINTA GIARDINIERA (staged by Vincent Boussard, July 2012), performs at the Bruges Festival a Mozart concert with Les Ambassadeurs and Alexis Kossenko…

2012-13 : debut in the title-part of LAKME at the Montpellier Opera ; an Offenbach concerts tour with Marc Minkowski and Les Musiciens du Louvre, Bach Magnificat & Haendel Dixit Dominus with Hervé Niquet and Le Concert Spirituel, several Bach programs with Raphaël Pichon at the head of Pygmalion, La Folie/PLATEE under Jean-Claude Malgoire, Queen of the Night/Magic Flute at Lyon National Opera…

As from 2013-14 : she returns to Lyon National Opera for Constance/DIALOGUES DES CARMELITES and make her debuts successively at Paris Opera Comique as LAKME, at Paris National Opera as Queen of the Night/DIE ZAUBERFLÖTE, as well as as Euridyce/ORPHEE ET EURIDYCE at the Brussels La Monnaie Royal Theatre… As from 2014-15, she repeats LAKME at the Toulon Opera, returns to the Opera Comique for Adèle/DIE FLEDERMAUS, makes her debut at Marseille Opera as Nanetta/FALSTAFF and at the Glyndebourne Opera Festival as Fire, Princess and Nightingale in L’ENFANT ET LES SORTILEGES etc.

Booklet for Mozart & The Weber Sisters