V0923. MADO ROBIN - Plaisir d'amour, w.Etcheverry, Dervaux, Bigot, Cariven, Tomasi & Briez Cond.: Songs by Martini, Rossini, Benedict, Koechlin, Delibes, Février, Chatau, Bosc, Wood, Rico, Marchetti, Pestalozza, Ponce, Renard, Grieg, dell’Acqua, Grothe, Richepin & Gallini; Arias from Mignon, Roméo, Les Contes d’Hoffmann, Manon, Dinorah, Manon Lescaut (Auber), Les Noces de Jeannette, La Perle du Brésil, La Fille du Régiment, Rigoletto, La Traviata & Zauberflöte. (Holland) 2-EMI 67503, recorded 1942-61. Very long out-of-print, Final Sealed Copy! - 077776750323
“Mado Robin's voice and style are truly wonderful and so rare. Not just the fabulous high notes but, the sweetness and evenness of tones throughout her vocal range and her impeccable diction in both songs and arias here are so special. There is nothing today like this gorgeous sound. A wonderful album. I wish there were more Robin releases.”
- Alana London
“Before listening to this album, I had always thought of Mado Robin as a sort of vocal phenomenon, able to reach high notes beyond what anyone else had or has ever hit on recording (the whistle tones of Erna Sack, Yma Sumac, and Mariah Carey notwithstanding), but without any real substance. After hearing her a little better recorded, I have changed my opinion….she is an excellent interpreter of both fluffy French art song and grand opera. Her voice is always rather mysteriously beautiful, but in her high range it blossoms into something truly unique and wonderful.
Of course, it is her high range for which she is remembered. On this album she actually restrains herself from showing off in every song, but there are still plenty of high A's (the one ABOVE high C) and even a B-flat or two. Particularly memorable are her interpretations of the Doll Song from CONTES D’HOFFMAN and, surprisingly enough, the TRAVIATA arias, despite the fact that they are performed in French. In ‘Sempre Libera’, she hits what may be the most perfect E-flat on disc, and resists the temptation to take the final A-flat up the octave, and her final note in ‘Addio, del passato’ is simply gorgeous.”
- M. Tietjen
“Although [Robin] is most remembered for her stratospheric high notes, she demonstrates on this recital a firm technique and a voice that always resonates, regardless of the range. Even her highest notes are brilliant and never have a ‘white’ quality. Notable also is her effortless production, regardless of the difficulty of the fioratura….although she does interpolate at times…the effect is musical.”
- Bob Rose, FANFARE, March/April, 2005