Here is the third album from the musical duo of pianist Reiko Uchida and myself, a selection of good songs by Gabriel Fauré, Claude Debussy, Maurice Ravel, and Francis Poulenc.

We recorded in November 2012 in the concert hall at Klavierhaus in Manhattan, using a Pleyel “Chinoiserie” piano built around 1890. Judith Sherman produced, assisted by Jeanne Velonis. Ming-Fang Hsieh designed the packaging. Soprano Jihee Kim shot the cover photo, and Hiroyuki Ito took pictures during the recording session.

For some reason, physical copies of this CD are sometimes very expensive from Amazon and other sources. The packaging is nice, but come on! Send me an email (my last name at gmail dot come) if you would like a CD at a more reasonable price (ca. $12 plus shipping).

THE NEW YORK TIMES
Sublime is the first word that comes to mind when confronted with this new recital disc by the skillful, intelligent baritone, Thomas Meglioranza, whose knack for French songs by Fauré, Debussy, Ravel and Poulenc matches the distinction he has shown previously in recordings of canonical Schubert and contemporary music. Reiko Uchida, playing an 1890 Pleyel piano, supports his light, handsome voice with insight, subtlety, and pearly luminosity.

GRAMOPHONE
Those who know his voice well might be astounded at how much it is transformed by the French language, which gives him a light baritonal quality recalling the young Gérard Souzay, though with a faster vibrato. His manner in La bonne chanson is so inside the music that he approaches the text almost as a conversation.

LIMELIGHT MAGAZINE (AUSTRALIA)
The Good Song is a fine collection of some more unusual and exciting vocal repertoire from the late romantic and early modern periods, faithfully realised with subtlety and nuance.

AMERICAN RECORD GUIDE
A couple of years ago I atended a chamber music concert, where the baritone Thomas Meglioranza and the pianist Reiko Uchida performed. I was impressed with their performances then and am no less so by this recording. Meglioranza has a rich, lovely lyric baritone voice which he uses to great effect. Ms. Uchida adds immeasurably to the pleasure with her immaculate playing.

AMERICAN RECORD GUIDE
Meglioranza has a rich, slightly understated baritone voice. Perfect for Schubert, even better for Fauré.

THE CHARLOTTE OBSERVER
"Warm" and "subtle" are also apt adjectives for the new album of French songs by baritone Thomas Meglioranza and pianist Reiko Uchida . . . like Dietrich Fischer-Dieskau, one of his idols, Meglioranza has a light, beautiful voice that can be plaintive or funny or touching. Uchida accompanies him with a supple and winning style, never receding into the background or overshadowing the singer. If you like classical chansons and lieder, this is a team to remember.

THE STAR LEDGER
Following up his enjoyable recording of Schubert songs, Thomas Meglioranza delivers sophisticated performances of French mélodies. Fauré's "La bonne chanson", the title song cycle, is full of romantic selections set to Paul Verlaine's poetry that could be well suited to Valentine's Day listening. Meglioranza's smooth baritone suits the French style. He sings with subtlety but still vividly conveys enthusiasm and affection. In "Avant que tu ne t'en ailles", he becomes particularly dynamic as he illustrates animated quail song, the tenderness of a poet's expression, and a majestic lark. He and the attentive Uchida switch gears effectively for the mysterious world of Debussy's "Fêtes galantes II" and bring vitality to Poulenc's "Chansons gaillardes", not shying away from their torment in love, giddiness in sin, vulgarity, or bitterness.