- Le Papillon et la Fleur, song for voice & piano in C Major, Op. 1/1
- Rêve D'Amour ("S'il est in charmant gazon"), song for voice & piano in E flat Major, Op. 5/2
- Dans les ruines d'une abbaye, song for voice & piano in A major, Op. 2/1
- L'aurore, song for voice & piano in A flat major, Op. posth.
- La Rançon, song for voice & piano in C Minor, Op. 8/2
- Aubade, song for voice & piano in F, Op. 6/1
- Ici-Bas!, song for voice & piano in F sharp Minor, Op. 8/3
- Aurore, song for voice & piano in G major, Op. 39/1
- Le Pays des Rêves, for voice & piano in A flat Major, Op. 39/3
- Les Roses d'Ispahan for voice & piano (or orchestra) in D Major, Op. 39/4
- Nocturne, song for voice & piano in E flat Major, Op. 43/2
- La Rose, song for voice & piano in F Major, Op. 51/4
- Soir, song for voice & piano in D flat major, Op. 83/2
- Le Parfum impérissable, song for voice & piano in E Major, Op. 76/1
- Arpège, song for voice & piano in E minor, Op. 76/2
- Pelléas et Mélisande, incidental music and suite for orchestra, Op. 80: Mélisande's song
- Le Plus Doux Chemin, for voice & piano in F minor ("madrigal"), Op. 87/1
- Vocalise-étude, song for voice & piano in E minor
- La chanson d'Eve, song cycle (10) for voice & piano, Op. 95
- Get it by Thursday, August 24 , Order now and choose Expedited Delivery during checkout.
Okay, so, no, the Hyperion French Song edition's four-volume survey of the complete songs of Fauré won't replace EMI's complete edition. But then, how could it? Featuring the ethereal Elly Ameling and the heroic Gérard Souzay along with stalwart accompanist Dalton Baldwin, the set was in its time and remains for all time the gold standard of postwar Fauré singing. That said, yes, even though it won't replace the gold standard, volume four of the complete Fauré on Hyperion has many merits and deserves to be heard by anyone who loves the music. First among its merits is the rich and soulful voice of soprano Jennifer Smith in the opening "Le papillion et la fleur" and again in the closing "La chanson d'Eve." Second are the three brief but lovely appearances by soprano Felicity Lott, especially her achingly beautiful "Le parfum impérissable." Third are the sensitive and subdued accompaniments of Graham Johnson, the skillful pianist who found a steady gig recording the collected songs of just about everybody for Hyperion. Less compelling is light-voiced baritone Stephen Varcoe in "Nocturne" and thin-toned Jean-Paul Fouchécourt in "Aubade." Although those who already have the Ameling/Souzay/Baldwin recordings might not be tempted to turn to these recordings as a first choice, they will be gratified and satisfied if and when they do hear it. Hyperion's sound is clear, close, and warm.