Call Me Flott

Editorial Reviews

All Music Guide - Stephen Eddins
While she is much beloved in her native Britain, for whatever fluke of timing or circumstance, soprano Felicity Lott has never achieved international superstar status, although her stellar vocal qualities -- clarity, purity, flexibility, and warmth -- combined with her exceptional skill as a singing actress, particularly in comedy, make her a singer who deserves to be widely known. Her recordings from the 1990s and early 2000s, including Fiordiligi in Charles Mackerras' 1994 "Così fan tutte" and her version of Schumann's "Frauenliebe und -leben" are testaments to her tremendous talent. This 2009 recording of light songs in English showcases Lott's gifts for etching ...
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Editorial Reviews

All Music Guide - Stephen Eddins
While she is much beloved in her native Britain, for whatever fluke of timing or circumstance, soprano Felicity Lott has never achieved international superstar status, although her stellar vocal qualities -- clarity, purity, flexibility, and warmth -- combined with her exceptional skill as a singing actress, particularly in comedy, make her a singer who deserves to be widely known. Her recordings from the 1990s and early 2000s, including Fiordiligi in Charles Mackerras' 1994 "Così fan tutte" and her version of Schumann's "Frauenliebe und -leben" are testaments to her tremendous talent. This 2009 recording of light songs in English showcases Lott's gifts for etching memorable characters in pieces lasting just a few minutes, as well as demonstrating her emotional range. The collection is notable for its diversity, with the songs of classical composers like Britten, Poulenc, Barber, Hahn, Gounod, and Saint-Saëns happily commingling with Berlin, Cole Porter, Coward, Kern, and Flanders & Swann. Lott was in her early sixties when she recorded this album, so perhaps it's inevitable that her voice would have lost some of its freshness and flexibility. In the "popular" songs, which make less technical demands on the performer, Lott shines and is fully convincing. In some of the songs, though, such as Britten's Fancie, she sounds strained and makes the listener wish she had made this recording a decade earlier. Although her voice is diminished, overall her performances are fabulous. Standout selections include Porter's "The Physician" and "Miss Otis Regrets," Coward's "Mad About the Boy," Barber's uncharacteristically bluesy "Solitary Hotel," Kern's "You Can't Make Love By Wireless," and Flanders & Swann's hilarious "A Word on My Ear."" Pianist Graham Johnson is a longtime collaborator with Lott, and the two have real chemistry in the interplay between the vocal and instrumental parts. The sound is clean, but the miking seems somewhat distant, so the volume may need to be adjusted.
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Product Details

  • Release Date: 4/27/2010
  • Label: Champs Hill Records
  • EAN: 5060212590039
  • Catalog Number: 3
  • Sales rank: 219,851

Tracks

Disc 1
  1. 1 It Was a Lover and His Lass - Geoffrey Bush & Graham Johnson (1:55)
  2. 2 Fancy ("Tell Me Where Is Fancy Bred"), song for voice & piano, FP 174 - Francis Poulenc & Graham Johnson (1:51)
  3. 3 Fancie: Tell me where is fancy bred, for unison chorus & piano - Benjamin Britten & Graham Johnson (0:59)
  4. 4 Under the Greenwood Tree - Mervyn Horder & Graham Johnson (1:39)
  5. 5 Petites chansons (5) (Little English Songs), song cycle for voice & piano: The swing - Reynaldo Hahn (1:47)
  6. 6 O That It Were So, for voice & piano - Frank Bridge & Graham Johnson (2:16)
  7. 7 If love were all - Noël Coward & Graham Johnson (5:47)
  8. 8 Song of a Nightclub Proprietress - Madeleine Dring & Graham Johnson (2:53)
  9. 9 Solitary Hotel, song for voice & piano (Despite and Still), Op. 41/4 - Samuel Barber & Graham Johnson (2:39)
  10. 10 What'll I Do?, song - Irving Berlin & Graham Johnson (3:35)
  11. 11 Miss Otis regrets, song (used in the play "High Diddle Diddle") - Cole Porter & Graham Johnson (2:52)
  12. 12 Litany, for voice & piano - John Musto & Graham Johnson (3:54)
  13. 13 Mad about the boy - Noël Coward & Graham Johnson (5:01)
  14. 14 The Return from Town, song for voice & piano (Two Amercian Poems No. 2), F. 184/2 - Bliss & Graham Johnson (2:09)
  15. 15 The physician, song (from "Nymph Errant") - Cole Porter & Graham Johnson (4:10)
  16. 16 Come on Algernon, for voice & piano - Lord Berners & Graham Johnson (3:07)
  17. 17 A Word on My Ear - Donald Swann & Graham Johnson (4:36)
  18. 18 I Love a Piano, song (from Stop! Look! Listen!") - Irving Berlin & Graham Johnson (3:23)
  19. 19 Call Me Flo, song - Jerome Kern & Graham Johnson (1:36)
  20. 20 Let's put out the lights - Herman Hupfeld & Graham Johnson (2:12)
  21. 21 The Party's Over Now (used in Cochran's revue "Words And Music") - Noël Coward & Graham Johnson (1:49)
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Album Credits

Performance Credits
Graham Johnson Primary Artist
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