Carrie-Ann Matheson

Carrie-Ann Matheson’s popular tracks showcase a blend of classical and chamber music, often featuring arrangements that highlight both voice and piano. One standout piece is "Douce France (Arr. Leuenberger for Tenor and Piano)," which captures a nostalgic essence. Another notable track is "Quand on n'a que l'amour (Arr. Leuenberger for Tenor and Piano)," known for its emotional depth.

The collection also includes selections from "Les nuits d'été, H. 81 (Transcr. Matheson for Tenor and Piano)," with pieces like "Le spectre de la rose," "Sur les lagunes," "Absence," and "L'île inconnue." Each of these pieces offers a unique experience, blending lyrical beauty with intricate piano work. Other tracks worth mentioning are "L'invitation au voyage," "La vie antérieure," and "Poème de l'amour et de la mer, Op. 19 (Transcr. Matheson for Tenor and Piano): III. La mort de l'amour." Together, these pieces form a rich tapestry of sound, appealing to a wide audience.

Carrie-Ann Matheson has recently released her latest album, "Douce France: Mélodies & Chansons (2024)." This collection features a range of French melodies and songs, showcasing her interpretation of classic works. The album reflects a thoughtful selection of pieces, making it accessible for listeners interested in both traditional and contemporary chamber music.

In addition to the album, Matheson has put out two singles this year. The first, "Kosma: Les feuilles mortes (Arr. Leuenberger for Tenor and Piano) (2024)," offers a fresh arrangement of this well-known piece. The second single, "Berlioz: Les nuits d'été, H. 81 (Transcr. Matheson for Tenor and Piano): I. Villanelle (2024)," highlights her skill in transcription, bringing a new perspective to Berlioz's work. These releases contribute to her ongoing exploration of the chamber music genre, demonstrating her versatility and commitment to the art form.

Carrie-Ann Matheson has engaged in notable collaborations with tenor Benjamin Bernheim, showcasing a range of classical works. One prominent piece is “Douce France (Arr. Leuenberger for Tenor and Piano),” which features the timeless melody by Charles Trenet. This arrangement highlights the blend of voice and piano, creating a resonant experience.

Another significant collaboration is “Quand on n'a que l'amour (Arr. Leuenberger for Tenor and Piano).” In this piece, the emotional depth of Jacques Brel’s composition is brought to life through Matheson's interpretation alongside Bernheim. Their partnership continues with “Extase,” where Bernheim's vocal strength complements Matheson's piano skills.

One more noteworthy work is “Les nuits d'été, H. 81 (Transcr. Matheson for Tenor and Piano): II. Le spectre de la rose.” This arrangement of Hector Berlioz’s piece allows for a fresh take on a classic, emphasizing the interplay between the tenor and piano. Their collaborations reflect a commitment to bringing classical music to contemporary audiences.