This is by far the best CD I have of French chamber music, immensely enjoyable. Chung and Lupu bring out the best of the two violin sonatas, the last movement of the Franck piece being particularly infectious. Unlike most other chamber music CDs I have which I put on when I have something else to do, this one makes you put everything down and just sit and listen.

My favourite track though is the Ravel, which has beautiful harp playing by Ellis, very atmospheric and idiomatic. The Debussy will need some getting used to, but as usual with his impressionistic pieces, they are very addictive when you learn to like them.

Its so difficult to decide which of all the Marcovicci albums I have is my favourite, because they are all just so GREAT! After being totally charmed and mesmerised by her latest 'Some Other Time', or her immortal 'New Words', or the sentimental live 'I'll Be Seeing You', and not least the nostalgic 'Just Kern', I recently came back to this earlier recording of hers and found that it gives me as much thrills, if not more, as any other album of hers.

Her sense of story, her acting ability, unusually voice, and emotional range is simply beyond description. Marcoviccism definitely needs some getting use to, because her voice is like no other, and her style is very didactic. But once you're hooked, you will never be able to do anything when you put on her CD, because you just HAVE to stop everything and just sit there and listen. The whole concept of this album is beautiful, aptly described in the title song at the beginning. The character goes through every single manner of emotions imaginable, and the songs are well placed with enchanting poetry recitals along the way.

She is able to infuse so much new life into familiar songs. I never imagined the Porter song (sung by Astaire), 'After You, Who?' could have such poignance. Sondheim's 'Goodbye For Now' is also surprisingly sincere and touching. But I think to most people the high point will be 'Do You Miss Me' - totally beguilding - and the immensely heartfelt 'These Foolish Things', never before sung with such commitment, and including a few verses seldom heard in other versions. The momentum lags abit after these 2 songs, but it can be argued that its part of the story development, as a kind of post-climatic calm. The duet is charming, and I found the voice of her partner here suits hers much more than the boyish Feinstein's in 'Just Kern'.

As I said, I cannot possibly suggest a 'must buy' among her discography, but if you have already been bitten by the Marcovicci bug, then you will definitely enjoy this as much as any others. If you are new to her, 'What is Love' is as good as any other recordings by this remarkable 'Princess of Manhattan Cabaret'!

I know this is one of the very few, if not the only, recording of this unique opera, which makes it even more worth getting. It is understandable why this work has not caught up in opera houses, because like the fate of Gluck's Alceste (also recorded by Norman), people go to the opera to see murders, liaisons, scandals, mad people and miracles; nowadays people don't find the sorrows of a faithful, suffering wife exciting enough. Same with Schumann's song cycle - just too politically-incorrect.

But the singing of Ms. Norman makes this worthwhile. Strangely, the opera only comes alive after the appearance of the title character, so it seems not only the listeners are impatient for her entrance, so was Faure. The Overture is very Wagnerite, and so are many parts of the vocal writing. Scenes without Penelope seem bland and lifeless.

The highlight of the set is scene 4 (track 5 of disc 1) in Act 1, very extended, very engaging. Ms. Norman's voice is so noble and commanding, ideally suited to this role. She seems to be perfect for Queens and Empresses; just sample her Dido, Cleopatre, Alceste, etc. I have to admit, because her part becomes progressively smaller in the next two acts, I seldom listen to the second disc. But the above mentioned scene is just so good that, like the Spring Duet in 'Die Walkure', it is worth buying a whole set for.

The rest of the cast lend solid support; Alain Vanzo is suitably world-weary as the hero, and the mezzo singing the role of the nanny is very dramatic. But the spotlight is no doubt on Penelope.

It is impossible to imagine a better Berlin revue! There is not a single weak link in this recording; all the singers are top-notch, great acting, immaculate comic timing, flawless singing. If Berlin is not your favourite composer, you'll be converted after this recording. If he is, then you'll still be surprised how good his songs can get if sung like this.

The cast is simply wonderful. They are so flexible; can croon or swoon like a torch singer in one number, create slapstick humor the next, sound like a 50 voice choir sometimes, and reduce you to tears at others. All this achieved with just a piano and a bass! I'm particularly charmed by the relatively unknown Berlin songs such as 'How's Chances' and 'Our Wedding Day', but the high points must be 'Suppertime' and 'Harlem on my Mind'!

If you already have a taste for older musicals, this is a must have. If not, sample it and discover the enjoyment it can offer as opposed to 'new' musicals.

I don't know why this recording is not as popular as others by Ms. Norman, because it is simply amazing. If you enjoyed her Four Last Songs, try this as a French equivalent. The orchestration is lush and rich, atmosphere is breath-taking, and the singing is absolutely immaculate. The two vocal sections of the 'Poeme' is so emotionally taxing, it was so wise of Chausson to place an Interlude in between: something like the Intermezzo in the middle of 'Cavalleria'. If in Strauss's song cycle you were encompassed by a swirl of autumn leaves and sunset hues, here you float on a wave of Venusian foam strewn with lilacs and roses!

The 'Chanson perpétuelle' is also pregnant with passion, as it should be. I find both Von Otter's more recent version and Dame Janet Baker's old respected version too cold and distanced. This is a song inspired by 'passion' and Ms. Norman's sensuous voice and artistry does it most justice.

My only complain is, the recording is abit too near and as Ms. Norman's voice is already larger than life, it can be too overpowering at times. The filler melodies are also not as well done as the other pieces; there doesn't seem to be enough rapport between singer and accompanist. I would have preferred a coupling of perhaps Chausson's famous violin piece, or maybe orchestrated songs. But still, the 'Chanson' alone is worth the price, what more can we ask for.

This is a truly unique album. Most of the tracks are done with a high standard of artistry, and only a few seem not to have worked. Even for those, it isn't because Ms. Norman doesn't know what she's doing, but rather because the style she set herself to achieve is just unattainable.

It is impossible to categorize this album, because it would totally defeat the approach if you compare it with classic jazz, or classical, or cabaret or even pop. We find the making of a truly individualistic cabaret artiste here, so confident in using all manner of sounds and expressions to get the emotion and style across. I really admire Ms. Norman's courage for doing this. It is so easy to go OTT with Legrand songs, but here they are done tastefully; with the intimacy of a Schubertiad recital or Manhattan cabaret performance, the technical standard of a superb classically trained voice, and deep Afro-American jazz musical roots.

The 4th track is abit too self-indulgent, but 'The Moon and I' and 'Dis Moi' is infectiously charming. Listen to it without prejudice, just sit back, let down your hair, put your legs up, and enjoy. This is not an album to introduce someone to her singing, but then again, if you still have not discovered the glory of this unique diva, there sure is a large chunk missing in your life.

Everytime I listen to New Words, I can't decide whether its the singer here that is so good, or the songwriters. I'll just have to conclude that both are on equally high levels, and what a high level that is! Most of the songs have 'standards' written all over them, and Marcovicci milks every bit of quality out of them - she certainly knows what exactly makes a good song. The high point for me is 'Life Goes On', but its not to say that the rest of the album is not as impressive, far from it. 'My Man's Riding in the Moonlight', with its intoxicating violin and sensuous singing is just so unforgettable. The title song itself is another masterpiece. The lyrics for 'Full Moon at Half Price' is as clever as anything by Ira or Yip. And after all these passions, heartbreaks, lessons learned, falling in and out of love, and wise words, she ends with 'things are just where they should be... tonight', and we fall in love all over again. My sincere thanks to you, Andrea. love, Dennis