Artist: D.I.V.A
Album: D.I.V.A
Genre: Classical, Opera
Release Date: 2017
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:14:03
Total Tracks: 22
Total Size: 1,38 GB

Tracklist:

01. D.I.V.A – La Traviata, Act 1: Libiamo, libiamo (Brindisi) – Un dì, felice, eterea – Follie… Sempre libera (04:15)
02. D.I.V.A – La Traviata, Act 2: È grave il sacrifizio – Dite alla giovine – Piangi, piangi (03:21)
03. D.I.V.A – La Traviata, Act 2: Noi siamo zingarelle – Piangi piangi – Scena della lettera – Amami, Alfredo (03:49)
04. D.I.V.A – La Traviata, Act 3: Addio del passato – Largo al quadrupede – Finale (03:34)
05. D.I.V.A – Don Giovanni, K.527: Ouverture – Deh vieni alla finestra – Madamina, il catalogo è questo – Fin ch’han dal vino (04:09)
06. D.I.V.A – Don Giovanni, K.527, Act 1: Là ci darem la mano – Ah, fuggi il traditor – Protegga il giusto cielo… Traditore (04:11)
07. D.I.V.A – Don Giovanni, K.527, Act 2: Mi tradì quell’alma ingrata – Don Giovanni, a cenar teco m’invitasti – Finale (03:05)
08. D.I.V.A – Die Zauberflöte, K.620: Ouverture – Zu Hilfe! Zu Hilfe! – Der Vogelfänger bin ich ja (03:21)
09. D.I.V.A – Die Zauberflöte, K.620, Zweiter Aufzug: O Isis und Osiris – Der Hölle Rache kocht in meinem Herzen – Ach, ich fühl’s (04:35)
10. D.I.V.A – Die Zauberflöte, K.620, Erster Aufzug: Bei Männern, welche Liebe fühlen – Pa-Pa-Pa-Pa-Pa-Pa-Papagena! – Es siegte die Stärke (03:19)
11. D.I.V.A – Carmen, WD 31, Act 1: Ouverture – La cloche a sonné – Dans l’air, nous suivons des yeux – Mais nous ne voyons pas la Carmencita? (02:31)
12. D.I.V.A – Carmen, WD 31, Act 1: L’amour est un oiseau rebelle (Habanera) – Holà, éloignez-moi toutes ces femmes-là – Près des remparts de Séville (Séguédille) (03:33)
13. D.I.V.A – Carmen, WD 31, Act 2: Les bohémiens à tour de bras (Air des Tringles) – Toréador, en garde – La-la-la-la (02:18)
14. D.I.V.A – Carmen, WD 31, Act 3: Mêlons! Coupons! (Trio des cartes) – Suis-nous à travers la campagne (02:11)
15. D.I.V.A – Tosca, Act 1: Ouverture – E lucevan le stelle – Mario, Mario… Son qui! (03:49)
16. D.I.V.A – Tosca, Act 1: Tradirmi egli non può! – Va’, Tosca (03:37)
17. D.I.V.A – Tosca, Act 2: Vissi d’arte, vissi d’amore (03:26)
18. D.I.V.A – Tosca, Act 2: Tosca, finalmente mia! – E lucevan le stelle – Finale (02:34)
19. D.I.V.A – Les Contes d’Hoffmann, Act 2: Belle nuit, ô nuit d’amour – Dans les rôles d’amoureux langoureux (03:42)
20. D.I.V.A – Les Contes d’Hoffmann, Act 1: Il était une fois à la cour d’Eisenach – Les oiseaux dans la charmille (03:14)
21. D.I.V.A – Les Contes d’Hoffmann, Act 4: Elle a fui, la tourterelle (01:50)
22. D.I.V.A – Les Contes d’Hoffmann, Act 2: C’est une chanson d’amour – Des cendres de ton cœur – Septuor (03:29)

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All wonderful dreams begin in the real world: all fairy tales are based on fact. So this is the tale of two brilliant singers, strong personalities, and they were performing on various stages in France and elsewhere. They had excellent training — alumni of the Maîtrise de Radio-France — and could sight read any score, even upside down with their eyes closed, they were wary of discovering the real world, where merciless competition makes human feelings seem optional.In England, Flore Philis had found good productions to appear in, but the rewards were slim when there was an exorbitant rent to consider. Marie Menand was living in the land of Molière and getting by somehow; and she was wondering what she’d let herself in for.
Dreaming of great prime donne’s arias, the two first met in a production of Mozart’s Don Giovanni. Like a pair on a slimming course with their eyes on the desert trolley, they used their imagination and came up with an original project: part opera, part mash-up. The aim was to get everyday listeners to discover opera and fall in love with it, and at the same time, to give themselves the chance to tackle roles they had only dreamed of: Carmen, Violetta or Flora Tosca. And why not Leporello, or Scarpia, too! A project for women thought up by crazies, something more Pedro Almodovar than Ingmar Bergman.

They talked to stage-director Manon Savary about it, and she translated their chimera into something quite visual: ve dolls leaving a box wearing crazy wigs, and make-up straight out of the Carnival in Venice. Manon even rummaged through the trunks belonging to her father, the famous French director Jérome Savary, and brought out ve of the most extravagant costumes ever worn by the renowned Grand Magic Circus.

The five dolls would be (allegedly) typecast as Timorous, Snooty, Quirky, Furious and the Ultimate Diva, and appear in an action-packed true story. Each character would sing bits of arias and duets taken from the great repertoire (from The Magic Flute to Tosca), all cleverly cut to shape, scored and orchestrated. In ten minutes! The result would be a brilliant example of direction packed with rhythm, videos and special effects, with no expense(s) spared in production.

One rule only: «Have fun, but don’t betray the music.» So the girls recruited a «magician» to arrange, transpose and shorten the repertoire without alterations: composer Olivier Rabet, who painstakingly concocted admirable scores and even pulled off the miracle of threading a symphony orchestra through the eye of a needle to obtain a string quartet. Four élite musicians, four delicious characters, and a result that some might think a crime, but then again, as the French song has it: La victime est si belle et le crime est si beau.