Vocal and Choral

Verdi - Opera Scenes

Dmitri Hvorostovsky;

Sondra Radvanovsky

Delos DE 3403

Among Giuseppe Verdi’s gifts to the opera repertoire is a welcome body of duets for baritone and soprano. Unless baritones can cultivate a credible upper range to allow for occasional forays into tenor repertoire, they often languish for opportunities at musical dalliance with sopranos.

Moreover, matching vocal colour and weight in a baritone/soprano duo can be tricky… but happily not impossible, as this recording demonstrates so well. Dmitri Hvorostovsky’s long career and vocal gifts have placed him in that small group of must-hear Verdi baritones. Pairing him with the beautifully matched voice of Sondra Radvanovsky makes for a wonderfully compelling recording of Verdi opera excerpts.

Hvorostovsky brings tremendous vocal security and experienced dramatic delivery to his various roles. Radvanovsky matches him measure for measure and the results are stunning. The recording’s producers have wisely selected Un Ballo’s Act 3 Scene 1 duet by Amelia and Renato to open the CD. Beautifully executed, this track firmly holds the listener’s attention for the balance of the disc.

In addition to the duets, 3 solos let us enjoy the voices in their own spotlight. Radvanovsky performs “Song to the Moon” from Dvorak’s Rusalka in a way the composer must have imagined a Slavic voice should sing it. Her semi-spoken ending is especially poignant. Further, Hvorostovsky sings Mozart’s “Deh vieni” from Don Giovanni, lightening his approach as much as possible but perhaps leaving us appreciating the more natural airiness of his Italian counterparts.

However, one cannot fault the authentically Russian colour and tone of Hvorostovsky’s voice. While artfully managed in the Verdi repertoire, it flowers fully and richly in another recent recording of Tchaikovsky Romances (DELOS DE3393).

Radvanovsky finally closes the live performance with a powerfully and flawlessly executed “Vissi d’arte” (Tosca). The audience in the Moscow Conservatory’s Great Hall reportedly applauded for twenty minutes after this concert – and they had every reason to do so.

Concert Note: Sondra Radvanovsky and Dmitri Hvorostovsky are featured in “An Italian Opera Spectacular” at Roy Thomson Hall on March 20.

Berlioz - Benvenuto Cellini

Wiener Staatspernchor; Wiener Philharmoniker; Valery Gergiev

Naxos 2.110271

One could be hard pressed to give an unbiased judgment on this “controversial” production of Berlioz’ first opera and undoubted masterpiece. Controversial, as director Philipp Stölzl created a fun filled futuristic fantasy extravaganza, placed in a New York-like setting filled with helicopters, robots and even a whale. So one could ask: what has this got to do with 16th century Rome? However, if you think about it, swashbuckling Cellini was himself no ordinary person, but one whose life story could fill a novel, and the first truly Romantic hero, ahead of his time. Obviously no ordinary treatment would do and so the director created a vastly different, anachronistic but constantly fascinating and innovative theatrical experience. Perhaps he went overboard a bit with the robots, but his imagination really knew no limits. In this respect he emulates the composer, young Berlioz who also “pushed the envelope” musically with extremely difficult singing roles, double, triple, quadruple choruses and cross rhythms etc.  

To control this mammoth task a master conductor is required, of course. About 30 years ago it was Sir Colin Davis who rediscovered and recorded the opera, but now it is the incomparable Valery Gergiev who can propel his orchestra, the Vienna Philharmonic, into the Berliozian stratosphere.

Burkhard Fritz as Benvenuto is a strong heroic tenor and copes well with the vocal demands of the role, while Maria Kovalevska as his beloved Teresa enchants us with her lovely voice and physical beauty. English baritone Brindley Sherratt is very capable and convincing as Balducci, the Pope’s treasurer. In the supporting cast American soprano Kate Aldrich is superb as Ascanio and Russian bass Mikhail Petrenko creates a hilarious cameo role as the Pope. The production is a visual stunner and comes together wonderfully, particularly at the carnival scene with a Brueghelesque feel about it. And just wait till you see the ending which is like a Vesuvian eruption with a giant foundry engulfed in flames, smoke and molten iron!

Schubert - Winterreise

Mark Padmore; Paul Lewis

Harmonia Mundi HMU 907484

Known primarily as a baroque tenor, Mark Padmore turns out be a first class lieder singer. This is a personal opinion and I am well aware of opponents who would argue that Schubert must be sung by a singer whose native tongue is German. Padmore, who sings in the original key, communicates Wilhelm Müller’s lyrics with disarming, heartfelt sincerity. The tenor possesses a tender, floating voice that illuminates the cycle with a fresh and contagious approach. He projects the texts in such a way that he seems to be singing directly to the listener and not to an anonymous audience. There is not another version that comes even close to this one. One can only marvel at its daring originality and compassion.

In comparison with the version by Peter Pears and Benjamin Britten I was really surprised to find that Padmore and Lewis’s is interpretatively superior in every respect. Paul Lewis is a perfect partner. He is highly respected as a Beethoven and Schubert exponent and, as we now witness, proves an ideal collaborator in this genre.

While I remain enchanted by the timeless, sublime versions of the three Schubert song cycles sung by Herman Prey that I wrote about in the December issue - Winterreise was particularly moving as interpreted by that late German baritone accompanied by Helmut Deutsch (CMAJOR 700208) – Padmore’s new recording is perfectly balanced, clear and enjoyable, making his Winterreise a stand out. Harmonia Mundi promises that the other two cycles will follow.

Mozart Arias for Male Soprano

Michael Maniaci; Boston Baroque;

Martin Pearlman

Telarc TEL-31827-02

Michael Maniaci apparently does not mind being a Canadian. In one interview he admitted that frequent performances in Toronto (with Opera Atelier and others) convinced some of his fans that he must be a Canuck. He may not be one by birth, but he certainly was born to share his rare gift with us.

Male soprano has the same ring to it as narwhal – a rare, almost mythical creature, barely known and even less understood. By an accident of nature, Maniaci’s larynx did not grow to a full size in puberty and produces sounds that best can be described as unusual. Much higher than a countertenor, much more robust than a boy soprano, his voice is one of a kind, possibly approximating what castrati might have sounded like. It is a perfectly pitched instrument, with a lot of agility and great technique.

For his first solo album, Maniaci chose music written by Mozart especially for castrati, including the celebrated “Exsultate, jubilate”. This voice takes some getting used to – at first, Alleluja! sounds strange and not entirely convincing. Once you get over the shock of the unknown however, especially in the Lucio Silla arias, this new interpretation triumphs over pre-conceived notions. Our initial resistance to what is in effect a return to Mozart’s preferred interpretation is a testimony to the way in which performance standard shapes our listening ability. So, open up your ears (and minds) to Michael Maniaci’s unique voice and indulge in what could be considered full period performance of the familiar music.

Bach - Violin and Voice

Hilary Hahn; Matthias Goerne; Christine Schafer; Münchener Kammerorchester; Alexander Liebreich

Deutsche Grammophon 477 8092

The twelve arias on this disc have been selected by violinist Hilary Hahn because they all feature a prominent part for solo violin. She has searched through Bach’s cantatas, the St. Mathew Passion and the B- Mass to put together a lovely, surprisingly well-balanced program.

But the concept behind this disc, evident right from the title, “Violin and Voice”, overplays the role of the obbligato violin in these arias. It’s not the leader here – its job is to comment on what the singers are singing. Fortunately, Hahn proves to be a sensitive ensemble player. Responding to the singers and never intruding on the vocal lines, she lightens her sound, restricts her vibrato, and sharpens the edges of her phrases.

The Münchener Kammerorchester under Alexander Liebreich offers buoyant support. But the key to the success of this venture lies in the heartfelt, dramatic singing. Baritone Matthias Goerne’s yearning intensity in “Welt, ade”, with soprano Christine Schäfer singing the chorale part, is matched by Hahn’s expressive obbligato. Schäfer is equally affecting, with an engaging honesty that illuminates these mostly religious texts. Her poignant “Erbarme dich”, given here in Mendelssohn’s transposition, blends exquisitely with Hahn’s lyrical, stylish playing.

The highlight for me is the impassioned performance by Goerne and Schäfer of the duet “Wann kommst du, mein heil?”, with Hahn providing beguiling elaborations on the operatic dialogue between Jesus and a soul longing to join him.

Night and Dreams

Measha Brueggergosman; Justus Zeyen

Deutsche Grammophon 289 477

Has it really been twelve years since soprano Measha Brueggergosman made us sit up and take notice when she sang the title role in James Rolfe’s Beatrice Chancy here in Toronto, followed by her appearance a year later at the Millennium Opera Gala? Since then, this native of Fredericton, New Brunswick has rightfully gone on to international fame, appearing regularly on concert stages throughout Europe and North America. Her newest disc - the fourth altogether and second for Deutsch Grammophon - appropriately titled “Night and Dreams” is inspired by all things nocturnal.

With German-born pianist Justus Zeyen providing a sensitive musical partnership, this is a wonderfully varied program indeed! While most of the repertoire dates from the mid-to-late Romantic period with songs by composers such as Debussy, Fauré, Duparc, Brahms and Wolf, there is also a lied by Mozart, a lullaby by Montsalvage, and an evocative Portuguese song, Anoiteceu, by Francis Hime. All are miniature gems, and within the overall intimate and introspective context of the whole Brueggergosman effortlessly captures the varying moods of each song. Her interpretation of Debussy’s Beau Soir – the opening track – is magically lyrical, while Duparc’s Phidylé soars with joyous intensity. In all, this is a most satisfying recording and further proof (if any were needed) of this soprano’s enormous talents.

EXTENDED PLAY – COLOURFUL COLORATURAS

By Seth Estrin

These new releases showcase four of the finest coloratura opera singers on stage today. Together, they offer the listener numerous opportunities to marvel at both the technical and emotive capabilities of the human voice when placed in the throat of superb dramatic actors.

French soprano Natalie Dessay’s disc Mad Scenes (Virgin Classics 6 99469 0) brings together mad scenes from I Puritani, Hamlet, Candide, and Le Pardon de Ploërmel bookended by two recordings of the famous demise of Lucia di Lammermoor – one in French, and one in Italian. All the material on this CD has been previously released, yet it makes a compelling if (perhaps appropriately considering the theme), idiosyncratic compilation. Composers from Donizetti to Bernstein were united by an unwritten rule: the crazier the heroine, the faster and higher her music. Fortunately, Dessay can sing both very fast and very high (up to a sustained G above high C in the Meyerbeer selection). What’s more, she can do so while convincingly sounding insane, alternating between moments of delicate serenity and full-blooded drama when her plangent voice almost threatens to unravel. If you are not already familiar with Dessay’s artistry, this is an excellent starting-point.

German soprano Diana Damrau’s voice is essentially of the same type as Dessay, less delicate and poised but somewhat brighter and more full-bodied, and so it is not a surprise to find some of the same selections on her disc Coloratura Opera Arias with the Münchner RFO under Dan Ettinger (Virgin Classics 5 19313 2). It is a testament to the abilities of both singers that they can bring strikingly different yet equally convincing approaches to similar repertoire – both of their over-the-top interpretations of Bernstein’s “Glitter and be gay” are not to be missed. Damrau’s fluttering voice has a natural smile that she uses to great advantage in portraying ebullient characters such as Zerbinetta, Rosina, and Oscar. Yet even in more subdued moods, such as when portraying Anne Trulove, her dramatic inclinations are spot-on. Aided by perfect enunciation, Damrau is so immersed in her characters that you hardly notice her modulating between four different languages in this varied program. This is an outstanding disc from beginning to end.

Mezzo Joyce DiDonato tackles more limited repertoire, focusing on arias written by Rossini for the famous singer Isabella Colbran on Colbran, the Muse with the Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia under Edoardo Muller (Virgin Classics 6 94579 0). Written as showpieces for a particular singer’s unique voice, Colbran’s roles are notoriously difficult to sing, but I doubt they have been better sung in modern times than on this disc. DiDonato has an intense, focused voice with a quick vibrato, impeccable coloratura, and lovely legato. But she is not afraid to embolden it with robust expressions of joy or desperation. Her incredible range allows DiDonato to bring to roles that are often sung by lighter sopranos (such as Elena, Semiramide, and Armida) a richer mezzo tonal colour, but without any hint of strain or lack of high notes. An exceptional release, with excellent support from both orchestral and vocal colleagues.

Fellow American mezzo Vivica Genaux, likewise concentrates on a single composer: Vivaldi, on Pyrotechnics - Vivaldi Opera Arias (Virgin Classics 6 94573 0). Genaux’s disc rivals DiDonato’s not simply for the number of notes sung or the sheer technical accomplishment of the singing, but also for the skill with which she uses coloratura to express emotion. Though her voice is earthy and vibrant, with a visceral, palpitating quality, it is light enough to give it a buoyancy that allows Genaux to navigate astoundingly difficult coloratura with ease. This facility with the passagework lets her focus on the drama, so that arias such as “Agitata da due venti” from La Griselda are not simply Baroque showpieces, but music sung by true operatic characters. Genaux’s singing is bolstered by the flamboyant playing of the period instrument group Europa Galante under Fabio Biondi.

Seth Estrin