julia lezhneva with decca solo cd - next superstar or forgotten next year?

Julia Lezhneva. Alleluia. CD. 2013. Motets by Vivaldi, Händel, Porpora and Mozart. Giovanni Antonini conduct Il Giardino Armonico.

Born in Russia in 1989, from 2008 a student at the Cardiff International Academy of Voice, winner of several competitions and a protegé of Kiri Te Kanawa. Hyped as few other young singers and now releasing her first solo CD under her new contract with Decca after her 2011 disc of Rossini arias released on Naïve.

On stage, she appears mostly in concert versions of the likes of La Cenerentola, a well-paced, reasonable programme for a 23-year old, who needs time to grow. When I heard her a couple of years ago in Salzburg in Il Rossignol as the cook, I thought she was superb.


Soprano or mezzo-soprano? Decca markets her as a soprano. Wikipedia says "soprano and coloratura mezzo-soprano". Probably in-between, with a small preponderance towards mezzo, I´d say, however at her age anything may happen. This present disc contains motets by Vivaldi, Händel, Porpora and Mozart.

The positive aspects first: She is 23. How many singers that age can perform like she does? Not many.Her coloratura technique is impressive and especially her middle register is beautiful.

The remaining slightly negative aspects: Whether she is 23 or 86 really is of no importance. This is a CD, and thus she compares with the likes of Sandrine Piau, Arleen Auger, Kiri Te Kanawa and Barbara Bonney, who all have recorded at least parts of the same repertoire, especially the Exultate Jubilate (Mozart K165). And while Julia Lezhneva´s voice is more than pleasant, I find no individuality whatsoever in neither characterization or delivery.

Julia Lezhneva is barely 23 and "one of the youngest artists to be celebrated like this", I read somewhere. Obviously that was meant as a compliment, but what now? She needs (like everyone her age) to grow into an adult, mature artist and that, inevitably takes time. And with initial high-exposure like this, it may not be too easy for her to manage. Really, she does look like a sweet young child on that cover.As always, however, we shall have to wait and see.

However, Cecilia Bartoli was 23 when she released her debut solo CD with Rossini arias in 1989 - also on Decca. The difference between these two at the same age is staggering. Bartoli was clearly an individual performer at 23, while Lezhneva is not.

The bottom line (scale of 1-5, 3=average): 3

Krassimira Stoyanova: Reluctant diva excels in Slavic Arias

Krassimira Stoyanova: Slavic Opera Arias, 2011.

Bulgarian soprano Krassimira Stoyanova had a rather late start to her career; born in 1962, she is as violinist as well, and played in 3 different orchestras before embarking on her singing career in 1995. Perhaps this is why she, 48 at the time of recording of the present CD is as fresh-voiced as ever. A long-time favourite of the Vienna State Opera where she is Kammersängerin, she has appeared extensively in all major houses and there can be no doubt, that despite flying somehow below the media radar giving very few English-language interviews, she is one of the greatest lyric-dramatic soprano in present time. Her limited discography does not reflect adequately upon her talent. She has released a few solo CDs, all recommendable, but this, the present one "Slavic Opera Arias" is the best. On DVD she may be seen as Desdemona and Tatjana as well as Rachel in La Juive.

Her voice has a rather square voice, and while some may find it lacks bloom when compared to someone like Anja Harteros, it is firmly centered in the middle register, as well as being equal throughout the range. Furthermore her intonation is spot-on, at least on this CD. Ideal for this repertoire of Slavic Arias, of which some may have seen her live as Tatyana - on DVD in Stefan Herheim´s Amsterdam production and live/screened in Kasper Holten´s recent (2013) production for the London Royal Opera.

She is scheduled to sing the Marschallin in the new Rosenkavalier in Salzburg in 2014, an offer she received after her critically acclaimed debut as Ariadne in Vienna a couple of months ago. More Strauss or Wagner in her future? I hope so, but a look at her website reveals Trovatore-Leonora, Marguerite and Amelia (Boccanegra) as well as Aida and Manon Lescaut.

Her next album will be recorded this summer featuring verismo arias.

Track list:

Tchaikovsky: Letter Scene (Eugene Onegin)
Hadjev: Act 4 Scene (Maria Desislava)
Borodin: Ne malo vremeni (Prince Igor)
Tchaikovsky: Otchevó éto prézhde (Iolanta)
Tchaikovsky: Spi, mladénets moy prekrasny (Mazeppa)
Dvorak: Song to the moon (Rusalka)
Dvorak: Mne zdálo se, ze smrt bledá (Dimitrij)
Dvorak: Necitelná vodní moci (Rusalka)
Tchaikovsky: Uzh polnoch blizitsya (Pique Dame)
Rimsky-Korsakoff: S podrúzhkami po (Snow Maiden)
Stoyanov: Zvezdíte tázi noshch (Hitar Petar)
Smetana: Och, jaký zal! (The Bartered Bride)
Rimsky-Korsakoff: Iván Sergéyevich, khóchesh (The Tsar´s Bride)

The letter scene from Stefan Herheim´s Eugene Onegin:

The bottom line (scale of 1-5, 3=average): 5

Vittorio Grigolo, arrivederci or addio?

 Vittorio Grigolo, Arrivederci 2011. Popular Italian songs.

Vittorio Grigolo, The Italian Tenor 2010. Italian opera arias.

Born in Italy in 1977, tenor Vittorio Grigolo started out very young on opera stages, however when he initially did not feel his career progressed as he desired, he released a popera album "In the hands of love" in 2006. This was apparently what it took for him to get noticed and his opera career took of in earnest around 2008-9. And a quite successful one at that, with plenty high-profile present and upcoming engagements, especially in the the lyrical tenor parts of Rigoletto, Boheme and Traviata, which he seems to sing virtually everywhere: London, New York Metropolitan, La Scala etc.

However, listening to both of his to latest CD releases I hear a small, rather constricted voice and a lack of style. Furthermore he includes repertoire far far too heavy for his voice such as Il Trovatore "Di quella pira",  Tosca "E lucevan e stelle" and  "Ballo in maschera". Comparisons to Pavarotti are ridiculous at this point. And even a Rolando Villazon has always shown a commitment and sincerity in his singing, which I simply fail to find with Grigolo.

Last year, after Rigoletto at the London Royal Opera one of the major London newspapers wrote that Probably no one could control Grigolo, who in the short space of time since tasting stardom has become a vulgar, preening artist. Miscast as the Duke of Mantua, which requires a more elegant tenor, his vocal delivery is gusty and he needs to take stock to avoid the burnout that so easily afflicts fast-rising singers of this type  while another attending the same performance found him to be  imaginative and full of daringly individual effect.

Vittorio Grigolo himself says: "When a role needs passion, romance, nobility of soul, Vittorio is the guy" and "The public always likes a new hero, and it says to me, ‘Welcome to the club."

Peter Gelb, Met Opera Director: I am sure of his potential. Me: I am less sure.

Vote below (open 1 month):

olga peretyatko

Olga Peretyatko - La bellezza del canto. München Rundfunkorchester conducted by Miguel Gomes-Martinez.

Olga Peretyatko is a Russian soprano, born in St. Petersburg 1980. Initially in the childrens choir at the Mariinsky theater, she received her formal training at Hans Eisler Hochschule für Musik in Berlin. Between 2005-7 she was a member of the Young Artist programme at the Hamburg State Opera and has continued as a freelance from then on. Earlier this year she jumped into the opening of Elisir d´Amore in Baden-Baden and her career is definitely on the rise with a Metropolitan Opera debut in the 2013-14 season as Elvira in I Puritani.

Based on this CD it is clear why. Hers is a very clear soprano with a distinct quality in upper middle register and a clear top.

La bellezza del canto is the sort of CD equivalent to a business card. While personally I prefer lieder disc or orchestral songs, artistic entities opposed to a mish-mash, it wouldn´t be fair to Olga Peretyatko to blame her for a rather conventional choice of arias (Gilda, Olympia, Manon, Don Pasquale, L´elisir d´amore),
She shows how she performs in work she potentially would be engaged to perform at stage.

And obviously it is easier for a casting director to judge her on that than try to suss out how her Gilda would be based on a song compilation of Messiaen. And for members of the general public to have an idea about her voice.

So for a presentation of Olga Peretyatko, this is as good as can be. And as she definitely qualifies as a rising star, now may be a good time to acquaint oneself with her.

Olga Peretyatko as Mathilde di Shabran:

The bottom line (scale of 1-5, 3=average):

4

renée fleming - poemes

Renée Fleming - Poemes. 2012. Ravel: Scheherazade, Messiaen: Poemes pour Mi, Dutilleux: Le temps l´horloge.

At this point of her career, I´d say that original writing on a Renée Fleming release is virtually impossible. Unless, of course, her performance on this disc is different from her usual type of performance. Or her voice/her interpretation is different from what she showed us on her last disc. Which it isn´t really.
Yes, she has, or rather she had one of  the most glorious lyric voices of this century. Yes, she is somewhat past her vocal prime easily proven by listening to her recordings up through the 1990´s and early 2000, such as those with Solti. And yes, her vocal style is quite specific and either you like it or you don´t, in which case you´d call her singing mannered. All of this has been pointed out previously by myself and others, and more than once..

However, all this taken into account, some of her releases are still better than others. And this present CD is probably the best I have heard from her in years. Not the least due to the repertoire presented, which is quite simply excellent. And as for style, she is far less mannered, you may say, than she is on her recent Richard Strauss recording with Christian Thielemann.

Yes, there are better recordings of Scheherazade, among the more recent Veronique Gens and Magdalena Kozena, on the market. Also, Poemes pour Mi have been better done though not excessively recorded: Anne Schwanewilms as well as Francoise Bollet with Pierre Boulez in the orchestral version as well as Susanna Philips with the piano version are all superior to Renée Fleming.

Dutilleux´ 14-minutes song cycle is written for herself, and as this is a world premiere recording, there obviously is no competition, but Fleming nevertheless impresses in this work with impressionistic qualities.

However, because of Renée Flemings status this will probably be a benchmark recording within this repertoire, especially the Poemes pour Mi, which really is an exceptional song cycle deserving to be performed much, much often.

Renée Fleming, Poemes trailer:

Overall impression (scale of 1-5, 3=average):

4

susanna phillips

Susannna Phillips. Paysages. CD 2011. Songs by Debussy, Messiaen and Faure. With Myra Huang (piano).

Susanna Phillips (born 1981) is a lyrical soprano, educated at Juillard School in New York City. A Metropolitan Council Award Winner and a first prize winner at the Operalia competition (both in 2005), she already has sung several parts (Musetta, Pamina, Donna Anna) at the Metropolitan Opera and is scheduled to return in the 2013 season as Fiordiligi as well as in a new production of Fledermaus.

Hats off to her for presenting an unusually challenging programme of songs by Debussy, Messiaen (Poemes pour Mi) and Faure for her first solo CD. Which was in fact the direct reason I noticed her disc in the first place - an internet search of recordings of "Poemes pour Mi" - there are not too many.
Messiaen composed this song cycle for his first wife in the 1930´s, at a time when his compositions were still very inspired by Debussy, thus the preceding Debussy songs seem very adequate.

Susanna Phillips has a lovely, warm and expressive voice with a technique to match especially Messiaen´s rather stiff vocal demands. It is also a quite distinctive voice, with a quite slow vibrato, and a rather nasal sound. Do I like the voice as such? I am not sure. But it is never unpleasant to listen to. Undoubtedly she does her best with the French diction, but I nevertheless fail to understand what she is singing. I don´t understand Renée Fleming´s French in her 2012 version of Poemes pour Mi either. However the French soprano Francoise Pollet demonstrates quite clearly (in the orchestral version with Pierre Boulez, the best on disc), that it is possible to understand the lyrics.

2012 interview with Susanna Phillips here.

Susanna Phillips as Donna Anna (with piano):

The bottom line (scale of 1-5, 3=average):

4

Peter Mattei - Great Baritone Arias

Peter Mattei - Great Baritone Arias. 2011. Lawrence Renes conducts the Royal Stockholm Philharmonic Orchestra.
Peter Mattei (born 1965 in Sweden) has been internationally active for more than a decade, performing at all the major operatic venues in a variety of high-profile roles. Yet, for some reasons he is not (yet) a house-hold name. Perhaps it is a combination of his reluctance to take on too many engagement and too many roles. And then there is the (lacking) recordings as this 2011 solo recital disc is in fact his first.

On stage Peter Mattei´s  main calling cards are Don Giovanni (title role), the Figaro Count and Eugene Onegin and these we do have on DVD, though the Don Giovanni is from 2002 and hopefully the La Scala Opening performance from 2011 with Daniel Barenboim will be released at some point.
There is universally agreement that in his core repertoire, Peter Mattei is among  the very few best in the world, and subsequently he sang title role in the two most prestigious openings of Don Giovanni last year: At the opening evening of the La Scala 2011-12 season with Daniel Barenboim and at the premiere of the new Don Giovanni production at the Metropolitan Opera (though substituting for an ailing Mariusz Kwiecien).

Peter Mattei has a very exceptional voice characterized by a formidable open sound, a strong high register, and a very distinctive middle register with a sound almost bordering on the metallic. Combined with a very straight delivery, for me, at least, his may be the most attractive voice in a repertoire which includes Simon Keenlyside, Dmitri Hvorostovsky and Mariusz Kwiecien among the prominent interpreters.

On this disc we have three excerpts from Don Giovanni including a Deh, vieni probably not to be heard more beautiful. Another of his calling cards, the Count in Figaro is represented with "hai gia vinto la cause" as well as Figaro´s "Se vuol ballare" sung with the elegant voice underlining why his calling card i the Count and not Figaro. The elegance continues in the two arias from Eugene Onegin.
I have heard Peter Mattei´s Posa (Don Carlo) live, a role he should sing more often, here represented with "O Carlo ascolta".  The same goes for Valentin in Faust, where it is clear he would be among the top performers of the role, did he just opt to sing it.

Peter Mattei has been wary moving into the heavier repertoire, cancelling a Macbeth in Stockholm a couple of seasons ago. Next season he is scheduled as Amfortas in the Metropolitan Opera new production of Parsifal (not represented here) however we have the more lyric part of Wolfram in Tannhäuser, here with two excerpts including the famous Song to the Evenstar , I don´t recall him having performed on stage, but his delivery is very beautiful.

A recital disc like this can hardly avoid a certain sameness to creep in at point. However, in Peter Mattei´s case it is a very beautiful and elegant sameness and this disc presents him at his best. Now, would he only perform a bit more on the international stages..

Deh, vieni - not from this CD, but from Aix-en-Provence 2002:

The bottom line (scale of 1-5, 3=average):

5

Camilla Tilling with superb Schubert recital

Beir dir allein! Schubert songs. CD. 2012. Camilla Tilling (soprano), Paul Rivinius (piano).

Rarely do you her a song recital, which blows you away the way this new disc with Schubert songs from Swedish soprano Camilla Tilling does.
Born in 1971, Camilla Tilling is mostly known on the opera stage for her interpretation of parts such as Sophie (Rosenkavalier) and Pamina and I remember hearing her as a vivid Oscar a couple of years ago in Paris.
Her  new Schubert recital disc "Bei dir allein!" is simply one of the best lied recital disc I have heard in a long time. Engaged and fresh-voiced, Camilla Tilling creates myriads of moods and she has that rare ability to turn on and completely off her vibrato with many degrees in between, as well as a varied attack even at the highest notes, as also Irmgard Seefried had. This extraordinary disc is in that league.
Previously, Camilla Tilling she released a disc with Richard Strauss lieder, where she demonstrated many of the same qualities, though to lesser effects as many of the Richard Strauss lieder for her voice type benefit from a more soaring voice than Camilla Tillings.
 
This Schubert disc, however, presents the finest lieder singing to be heard and is a clear must-have.

The bottom line (scale of 1-5, 3=average):

5

erwin schrott arias

Erwin Schrott: Arias. Vienna Radio Symphony orchestra conducted by Daniele Rustoni. 2012.

From an artistically point of view I simply do not see the rationale behind the release of this new solo album by Erwin Schrott. From a pure commercial point of view, however, it could make sense:

In 2008, under his contract with Decca, Erwin Schrott released his first solo CD, an album not unlike the current one, with a selection of bass-barytone arias. The album was received with mixed reviews and subsequently  Erwin Schrott has signed with Sony. Yes, there are differences between the two albums of course, but mostly in favour of the first album, where Erwin Schrott included some of Mozart roles such as Figaro and Leporello, which he has successfully performed on stage. On this new album, the arias are different, but with an overweight into repertoire, which simply does not find Erwin Schrott at his best and exposes his vocal weaknesses: Méphistopheles Veau d´Or (Faust), Scintille Diamant (Hoffmann), Tre sbirri (Scarpia in Tosca), three pieces from Mefistofele (Boito)..

A sticker on the disc states that this album presents Erwin Schrott in his signature roles. This is simply not true. He may have performed the Faust-Mephistopheles and Escamillo a few times on stage, but his calling cards are still Mozart roles such as Leporello, Don Giovanni, Figaro. Not represented at all on this current CD. And this, I don´t think will change. Schrott simply does not have the vocal qualities to distinguish himself in the basso cantante repertoire: He is practically unable to hold a vocal line, his intonation is shaky with major weaknesses in both upper and lower registers. Furthermore, I don´t reallly hear anything interpretatively.

We have a number of unrecorded bass-barytones active today, who would have done a better job than Schrott in the recording studios. And he is simply no match for those already recorded in the same repertoire (from present day: René Pape and Bryn Terfel, from the past: Samuel Ramey, George London).

On stage, however, in his core repertoire, Erwin Schrott is among the best there is today, not least due to his excellent combination of stage presence and physical acting.

So why release an album so similar to his previous one? Has his public profile been raised sufficiently with his big venue concerts with Anna Netrebko to make this album a commercial success? Honestly, I don´t think so.
Le veau d´or - from a Barcelona concert in 2011:

The bottom line (scale of 1-5, 3=average):

2

Magdalena Kozena - Love and longing

Love and longing. CD. 2012. Songs by Ravel, Dvorak and Mahler. Simon Rattle conducts the Berlin Philharmonics.

Even after pondering the question, I still think that Magdalena Kozena (born 1973) probably has the most beautiful voice around anywhere on stage today. And she just becomes better and better.

In my book, she is essentially a concert and lied singer, though she regularly performs in opera. Projecting mixure of shyness and awkwardness (not vocally mind you) on the operatic stage, I have seen her as both Octavian and Melisande. And her Idamante is available on DVD. However, it is on the concert stage, she does her finest work. And nothing she has done is really better than this recent disc with songs by Ravel (Sheherazade), Dvorak (Biblical Songs op. 99), and Mahler (Rückert-lieder) entitled "Love and longing" in accordance with recent record labelling trends.

With a creamy voice of incredible beauty, even throughout the register, she possesses an instrument as few (really is there anyone else?) today. Combined with profound textual understanding as well as faultless phrasing, I really do not have a critical word to say of this disc. Not to forget the superb accompanying provided by the Berlin Philharmonics under Simon Rattle. They just show us just how important the orchestra is in orchestral songs, with a performance far far above average.

Album trailer:

The bottom line (scale of 1-5, 3=average):

5

Diana Damrau Thielemann Strauss

Richard Strauss orchestral lieder. CD. Poesie. Diana Damrau with Christian Thielemann conducting the Munich Philharmonics. 2011

From the dazzling coloratura of Amor to the innigkeit of Morgen and the broad expressiveness of Zueiningung.
In this, her best disc until now, Diana Damrau sings a wide selection 22 of Richard Strauss´ songs accompanied by the Strauss-specialist Christian Thielemann, the leading Strauss conductor of our times. Diana Damrau has the legato lines this music demands as well as perfect textual understanding and projection. Together with perfect coloratura lines when when in demand, which are the songs she does best. In the heavier sungs, like Zueinigung she does sound slightly strained, but nevertheless her overall control is admirable.
Thielemann is simply perfect, sumptuous, detailed, as we know him in Richard Strauss, such as accompanying Renée Fleming on her Strauss disc.
I only have one problem with this disc: I simply do not really find Diana Damrau´s voice attractive. What some calls a silvery timbre, I find dry. Diana Damrau cannot be faulted for this, as she really uses what she has to perfection on this disc.
Small quibbles aside, this is an excellent introduction to Richard Strauss´ songs.

The bottom line (scale of 1-5, 3=average): 4

Nino Machaidze Romantic Arias

Nino Machaidze: Romantic arias. Sony 2011

Nino Machaidze, born 1983 in Tblisi, Georgia came to fame overnight as a late substitution for Anna Netrebko as Juliette in the 2008 Salzburg production of Romeo and Juliette partnering Rolando Villazon - also released on DVD. I was in Salzburg that summer, watchin the production in one of the plaza´s of the Old City, remembering all the fuss about her - her Angelina Jolie-like looks, her being somewhat overparted for the role, but generally doing well.
And after Salzburg has taken her to all the major houses, mainly in lyrical coloratura parts, especially Gilda and Juliette.
Admittedly it is difficult to be exposed like this, and as a young performer you have to be really careful. I cannot point my finger, as an outsider, to anything in particular that Nino Machaidze shouldn´t have done in the past three years, but listening to this, her first solo CD with Sony, is a major disappointment.

She is audibly strained in all the arias, with a wide unpleasant vibrato in both top and upper middle register. On top of that about half of her top notes are widely off-pitch. It takes away the attention from everything else and I have to admit it is really not pleasant to listen to this CD. And she is only 27. The publicity and her Angelina Jolie-good luks will sustain her career for a bit, I suppose. But in 5 years she will have a voice in ruins. Unless something radical happens.

Filles de Cadiz from Romantic Arias

.
Overall impression (scale from 1-5, 3=average): 1-2

Aleksandra Kurzak Gioia

Aleksandra Kurzak: Gioia. CD Decca. 2011

Polish coloratura Aleksandra Kurzak (born 1977) just released her first soloalbum with Decca, where she chose to present highlights from the coloratura repertoire - Rosina, Gilda, Adina, Violetta, Lucia, Lauretta, Adele, Musetta. Plus the Polish accent Hanna’s aria from Stanisław Moniuszko’s “The Haunted Manor”.

Kurzak is a no-nonsense performer, with wonderful low notes combined with the full coloratura range. I remember reading somewhere that she used to sing the C (above the high C) but because she needed to develop her middle register her highest note now is  "only" the G (above the high C obviously).

I always feel it pointless to compare such mixed discs too heavily with the great artists of the past. A disc like Gioia is much the musical equivalent of a business card for Aleksandra Kurzak and she shows what she can do with the repertoire she currently performs on stage. 
She tackles the characters non-sentimentally face-on, whether it is Gilda or Lucia, the approach is roughly the same. Some may perhaps miss interpretatory depth and variation in characterization. However, she hits the notes better than most and sounds largely unstrained and her voice quality would seem to make the full range of lyric soprano roles possibilities for her.
No, she doesn´t deliver final interpretations of any of the performed arias, and neither does she eclipse the great from the past. But the disc is enjoyable as it is.

The bottom line (scale of 1-5, 3=average): 4

Anna Prohaska Sirene

Anna Prohaska: Siréne. CD. Deutsche Grammophon. 2011. With Erich Schneider (piano).

Anna Prohaska (born 1983) is hardly an insider-tip anymore, presenting her first solo CD for Deutsche Grammophon.

She studied at Hans Eisler Academy of Music in Berlin and I remember when she graduated with maximum honours not more than a couple of years ago. Already as a student, she became a member of the Berlin Staatsoper, where I have heard her in various minor roles (such as the shepherd in Tannhäuser, a flower maiden in Parsifal) and in 2008 as a water nymph in Rusalka in Salzburg. Admittedly local Berliners gathered she was destined for stardom before I did, and only recently in Salzburg  did I hear her for the fist time in a leading role, as Despina in Cósí Fan Tutte.

And destined for stardom I am convinced that she is, perhaps more convinced than with any other soprano her age. Because not only does she have a beautiful voice - a very beautiful voice, with a wonderfully dark middle register and effortless top notes. But there is also something very technically solid about her singing, displaying a fabulous technique with completely even shifts between lower and upper register, and a style which at times is almost altmodisch resembling the style of Dorothea Röschmann.

The theme of this recital (hardly an enviable task having to come up with original themes for recitals) is Siréne, waternymph. Not that I´d immeditialy associate her voice with the fleeting spirits of a waternymph, but nevertheless she is outstanding in this program ranging from Purcell and Dowland over Schubert and Schumann to Szymanovski. Best perhaps in the classic german songs such as Schuberts Des Fischers Liebesglück.

I remember once reading an interview with Daniel Barenboim, a frequent collaborator of Anna Prohaska´s, stating that after 30 minutes of singing he would know if a young soprano was eventually destined for Wagner or Mozart. In the case of Anna Prohaska, I´d be curious to hear his opinion.

Not to be missed.

The bottom line (scale of 1-5, 3=average): 5

Mojca Erdmann, Mozarts Garden, Mostly Mozart, Mostly Sweet

Mojca Erdmann: Mozarts Garden or mostly mozart. CD 2011. Deutsche Gramophone

If one upcoming soprano is marketed for stardom it is the German lyric soprano Mojca Erdmann. With the same manager as Anna Netrebko, the ways for major contracts seems paved, such as Zerlina both in Baden-Baden this summer and in the new upcoming Met production this fall.

Initially named "mostly mozart" for the German release, the international release will be called "mozart´s garden". A more catching title, agreed for this all-Mozart program ranging from Zaide to Magic Flute.

From the accompanying material to the CD we learn that Mojca Erdmann loves Mozart more than anyhing, that Mozart makes her cry and that she loves flowers. And this is how Deutsche Gramophone markets her: Sweet, sweet sweet. She also looks sweet, of course.

And, almost needles to say, she sings sweetly as welll. And she does have a beautiful voice, especially in the high register. What I miss, is individuality, personality. She sings Pamina as she sings Zaide. Sweetly, clearly concentrating on the beautiful sound over the textual drama. And, though the voice indeed is beautiful, to my taste her use of a certain slow vibrato is excessive in the middle register, and more than once this specific quality reminded me of some pop singers attempting opera.

Though perhaps unfair (to Mojca Erdmann), it is almost impossible not to compare her to Anna Prohaska, also German, also in her mid-twenties and with overlapping repertoire on stage.

Personality, obviously, is something to develop. But I would expect to see more at this stage of her career if she eventually is to become truly loved by audiences. Publicity may go some (a long) way, but eventually it is her personality that will make her career.

The bottom line (scale of 1-5, 3=average): 3

Record of the year 2009: The Verdi Requiem

Verdi: Requiem. Orchestra e Coro dell´Accademia Nazionale di Santa Cecilia. Rome, 2009. Live recording. Cond: Antonio Pappano. Soloists: Anja Harteros, Sonia Ganassi, Rolando Villazón, René Pape. Further information here.

As far as I am concerned this is THE release of 2009. And a Verdi Requiem of a quality I have not heard in decades of recording. All the pieces come together for Antonio Pappano, despite an odd engineering choice, making the initial 2 minutes inaudible. But from there on, there is very little to criticize in a performance of rare coherence. Combined with an excellent soloist quartet this is not to be missed.

The bottom line (scale of 1-5, 3=average):

5

CD: Jonas Kaufmann excels with Die Schöne Müllerin

Jonas Kaufmann (tenor), Helmut Deutsch (piano). Schubert: Die Schöne Müllerin. Released on DECCA, 2009. Further information here.

A timid, sensitive boy loves a young, beautiful woman. Initially she seems to love him too, but leaves him for a real man. The hunter beats the poetic boy to win the miller´s daughter. And, instead of just swallowing the disappointment and quite literally look for other fish in the stream, he drowns himself in it. Quite predictable, at least in the romantic universe of Schubert.

And what a major relief, that Jonas Kaufmann sings Die Schöne Müllerin without even a hint of whimpish sentimentality. A remarkable release for several reasons, but most importantly is the fresh and direct interpretation from both Jonas Kaufmann and Helmut Deutsch at the piano.

The obvious comparison is with Fritz Wunderlich, who delivers a classic reading focused on the creation of vocal moods and tonal beauty. Jonas Kaufmann bases his interpretation around sculpturing the words, rather than creating vocal moods, compromising more than occasionally with vocal beauty, especially with the sometimes strained and not entirely-in-tune topnotes. Does it matter? To some, it will. To me, it doesn´t. In that context, Jonas Kaufmann is interpretatively closer to Ian Bostridge, though without the neurotic quality of the latter.

I can hardly imagine a more fresh and direct, no-nonsense interpretation of this song cycle, which may very well be the one I will return to most often in the future.

Promotional video with excerpts:

The bottom line (scale of 1-5, 3=average):

5

Stephanie Blythe sings Brahms, Wagner and Mahler

Stephanie Blythe sings Brahms, Wagner and Mahler. 2004. Further information here.

American mezzo-soprano Stephanie Blythe (born 1970) continue to receive rave reviews for her performances, most notably at the Metropolitan Opera in parts such as Orfeo (Gluck), Fricka (Walküre) and Ulrica (Ballo di Maschera). Her European performances are rather scarce, a contributory factor without doubt being her large physique, of which she said in a recent interview:
“If you bring weight into a conversation, all of a sudden that’s the issue. If someone wants to take a chance and cast me in a role that is unconventional physically for me, I applaud them. They recognize the fact that I can probably bring something to the role. When I was given Orfeo at the Met you could have knocked me over. I have seen people who are half my size do a role and look the part and not inhabit the part."

Weight issues apart, this disc documents that Stephanie Blythe has the perhaps most convincing dramatic mezzo-soprano voice of today, with an astonishing depth making one wonder if she perhaps really is a contralto. On this album from 2004, she sings the classic German concert repertoire for her voice type: Wagner´s Wesendonck lieder combined with Brahms´ Alto Rhapsody and Der Abschied from Das Lied von der Erde.

Stephanie Blythe´s contribution to this disc, in short, is simply superb. Not since Christa Ludwig have I heard such a firm and steady voice combined with a wonderfully unsentimental approach. My only quibble towards ms. Blythe´s performance is that her intonation is not always razor-sharp, particularly notable in the Brahms. But what a voice she has..

Unfortunately John Nelson´s Ensemble Orchestral de Paris does not entirely match this high level. Furthermore, much to my distaste, Hans Werner Henzes orchestration of the Wesendonck lieder was chosen for this recording, whose transparent approach I have never felt suits either the Wesendonck lieder in general or Stephanie Blythe´s voice in particular.

Stephanie Blythe with Schmerzen from Wesendonck lieder:

The bottom line (scale of 1-5, 3=average):

5

Christianne Stotijn: Tchaikovsky romances

Christianne Stotijn with Julius Drake: Tchaikovsky romances. Released January 2009. Further information here.

Dutch mezzo-soprano Christianne Stotijn (born 1977) seems set on making an international singing career centered around concert- and liedsinging and just released her fourth solo album "Tchaikovsky romances" on Onyx.

What genuinely places Christianne Stotijn apart from the vast majority of her colleagues is not fundamentally the voice. Though Christianne Stotijn´s voice is beautiful as well as first-rate, it doesn´t have the even, creamy beauty of colleagues such as Angelika Kirchschlager or Magdalena Kozena.
What she does have, though, is a genuinely unique expressivity based around a seemingly deep understanding of the text and musical structures. The myriads of moods and colours she applies to these Tchaikovsky songs are quite extraordinary, always emphasizing the words and clearly chosing expressivity over beauty of tone, when faced with the choice.

Highly recommended.

The bottom line (scale of 1-5, 3=average):

5

Anna Caterina Antonacci: Superb solo disc Era la notte

Anna Caterina Antonacci: Era la notte. Released 2006. Further information here.

Giramo´s La Pazza, Monteverdi´s Lamento d'Arianna and Il Combattimento di Tancredi e Clorinda as well as Strozzi´s Lamento.

Such is the content of soprano Anna Caterina Antonacci´s as yet only solo-disc released in 2006. A soprano, of whom it is often said, that she should be experienced live to be fully appreciated. However, her performance on this disc is nothing short of superb, infusion life and commitment into every inch of this repertoire. Without selling short on vocal precision and intonation.
Not to miss is Monteverdi´s Combattimento di Tancredi e Clorina, where Antonacci takes the part of both lovers, who actually end up in mortal combat, not recognizing each other .

For early music lovers, this disc is a must. So is a new solo disc by Anna Caterina Antonacci, despite her recent successes, still vastly underrated.

Anna Caterina Antonacci with the first part of Il combattimento di Tancredi et Clorinda (audio only):

The bottom line (scale of 1-5, 3=average):

5