Chants d'Auvergne

  

Frederica von Stade
Canteloube: Chants d'Auvergne, Vol. I
1982

Tracks:

1 - Baïlèro
2 - Oï, ayaï
3 - La delaïssádo
4 - Passo del prat
5 - Té, l'co, té!
6 - Pour l'Enfant
7 - Bourrées: I. N'aï pas iéu de mîo  II. Lo calhé
8 - Lou coucut
9 - L'Antouéno
10 - Chut, chut
11 - Brezairola
12 - Uno jionto postouro
13 - Lo fiolairé
14 - Bourrées: I. L'aïo dè rotso  II. Ound'onorèn gorda?  III. Obal, din lou Limouzi
  

Personnel:
 

Frederica von Stade: Mezzo Soprano

Composed by: Traditional, Joseph Canteloube
Performed by: Royal Philharmonic Orchestra
Conducted by: Antonio de Almeida 
  

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Frederica von Stade is an internationally known mezzo soprano, known as much for her charm and beauty as for her singing. She possesses what critics have called one of the warmest voices of her generation and has tackled a wide range of repertoire throughout her career. Several contemporary composers have written roles for her. She also spends time championing music education.

Born in 1945 in New Jersey, her father was killed by a land mine in the waning days of World War II, weeks before her birth. Her family traveled and periodically lived abroad in her youth because her mother worked as a secretary for the Central Intelligence Agency. This included extended stays in Italy and Greece. Typically, she spent summers in Far Hills, New Jersey, with her grandmother. She first saw an opera at the age of 16.

Von Stade attended Convent of the Sacred Heart school in suburban Washington., D.C., then spent a year studying music in Paris, working as a nanny and bartender to earn her way. She attended Mannes College of Music in New York, where she studied with teachers including Paul Berl and Otto Guth. After graduation she joined New York's Metropolitan Opera company, and made her debut on January 10, 1970, in Mozart's Die Zauberflöte (The magic flute). "I was totally green, stagestruck and nervous about being wrong, and I wasn't really a trained musician," she told Brian Kellow of Opera News in a 1995 interview. "[Y]ou just sat in that rehearsal room for five hours and didn't read a paper or a magazine or knit or do anything. You sat and listened. You watched and learned and assimilated."

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