Voice-works Summer Study Weekend 

9-11 May  2025

Noticeboard: Inspiration & Resources 

 

 

During this weekend, we will explore the music of your chosen French composers, the original 8 having been carefully selected for their impact on both mélodie and opera. 

We will of course, also use the time we spend together as an opportunity to further develop our identities as singers—the thought journey that leads and inspires us: Your Process.

Listen to my reasoning and suggestions in my short video. Gather your thoughts together in your Process Vault Dropbox folder. We will reveal all later!

 

YouTube: Sharing our chosen repertoire ...

Let's collaborate! Add preferred performances of your 4 chosen pieces to our bespoke Voice-works Study Weekend YouTube Playlist.

Listen in, watch and enjoy the process of becoming familiar with all the repertoire we'll be studying together.

Click the button below to access and add your repertoire choices into the mix!

The Playlist
 

Who had the greatest influence?

That’s a wonderful question that opens up so many perspectives. Among the poets and composers we'll be exploring, Paul Verlaine stands out as arguably the most influential literary figure. At the same time, Gabriel Fauré and Francis Poulenc each made profound and lasting marks on French mélodie from a musical standpoint.

Here’s a quick breakdown of their influence:

Paul Verlaine 

  • Why he matters: Verlaine's musicality of language and emotional nuance made him a favourite among composers, especially those seeking atmosphere over narrative. His poetry was set by FaurĂ©, Debussy, and Hahn, among others, and helped define the sensual, suggestive quality that became a hallmark of French mĂ©lodie.

  • Legacy: His influence extended into Symbolism and beyond, shaping the aesthetic of an entire generation of songwriters and poets. Verlaine's poetry offered composers an ideal marriage of mood and ambiguity.


Gabriel Fauré 

  • Why he matters: Often considered the father of French mĂ©lodie, FaurĂ© developed a language that balanced classical structure with modern harmonic subtlety. He set poets like Verlaine, Baudelaire, and Leconte de Lisle with unmatched sensitivity.

  • Legacy: His style influenced not only his direct students (including Ravel and Nadia Boulanger) but also later composers like Hahn and Poulenc. He elevated French song to the same artistic status as German Lieder.


Francis Poulenc 

  • Why he matters: Poulenc brought a conversational, deeply human quality to song, combining wit and melancholy with brilliant text setting. He gave voice to 20th-century French poets (Aragon, Apollinaire, Eluard) and created songs that were both accessible and profound.

  • Legacy: His songs are among the most performed in the 20th-century French canon, and his distinctive voice helped renew interest in French mĂ©lodie for a modern audience.

In terms of interpersonal influence, many of these figures knew each other or admired one another from afar. Paris was a kind of crossroads: salons, cafés, and conservatoires were fertile ground for collaboration. For example:

  • Hahn was friends with Proust and influenced by FaurĂ©.

  • Debussy and FaurĂ© had mutual respect and moved in similar circles.

  • Poulenc revered FaurĂ© and was mentored by one of his pupils.

So, who had the greatest influence?

If we had to name one root from which much of this repertoire grows, it would be Fauré — for his foundational role in French song, his direct teaching lineage, and his influence on the next generation of composers.

But without Verlaine’s poetry, Fauré might never have discovered his most perfect medium.

It’s the interplay between word and music that truly defines this repertoire — and it's the dynamic relationships among these creative spirits that keep the repertoire alive and resonant for singers today.

 

French Repertoire in Chronological Order

  1. Je dis que rien ne m'épouvante - Carmen (1874/5)

  2. Romance de Nadir – Les pêcheurs de perles (1863) – Georges Bizet

  3. Lydia (1870-71) – Gabriel Fauré

  4. Je suis encore toute étourdie – Manon (1884) – Jules Massenet

  5. En fermant les yeux – Manon (1884) – Jules Massenet 

  6. Adieu, notre petite table – Manon (1884) – Jules Massenet

  7. La vie antérieure (1884) – Henri Duparc

  8. Si mes vers avaient des ailes (1888) – Reynaldo Hahn

  9. En sourdine (1891) – Gabriel Fauré

  10. D'une prison (1892) – Reynaldo Hahn

  11. Soir (1894) – Gabriel Fauré

  12. Le tombeau des naïades – Trois chansons de Bilitis (1897–1902) – Claude Debussy

  13. Quand je fus pris au pavillon (1899) – Reynaldo Hahn

  14. Élégie (1901) – Jules Massenet

  15. Les chemins de l’amour (1940) – Francis Poulenc

  16. C (1943) – Francis Poulenc

  17. Montparnasse (1945) – Francis Poulenc

Got some questions?

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