Measha of a muchness

In Measha Brueggergosman‘s newest DG release, “Night Songs…” Oh… sorry! That was Renée Fleming‘s beautiful 2001 Decca release of similar (occasionally overlapping) material. Let me try that again.
“In the Still of Night…” Oh… sorry! That was Anna Netrebko‘s voluptuous CD of Russian songs released earlier this year.
Okay, third time’s the charm, in Measha Brueggergosman’s other-sopranos-have-been-there-and-done-that-better CD, Nights and Dreams, there isn’t a single track that isn’t marred by a fluttery, unsupported vibrato, suspect pitch, awkward (sometimes downright ugly) attacks at the top of the staff, and the lack of a true pianissimo.
Singing most of the time in that same “tremulous mezzo-piano” I remarked on in her recent recording of Wagner’s “Wesendonk Lieder,” any musical or textual insight Ms. Brueggergosman might have is compromised by her completely mediocre vocalism. Frankly, I’ve heard better singing at any number of college voice recitals.
There is one novelty in the program; an alternate version of Liszt’s “Oh! Quand je dors.” The song itself is not nearly as good as the version we all know and love and she doesn’t sing it very well.
Throughout, pianist Justus Zeyen‘s cool virtuosity is a welcome distraction.
This is not a review. It’s just a badly written grievance.
Will get a chance to hear Brueggergosman sing Mahler at CSO this week.
Also, folks aren’t making much noise about Kate Royal making her Met debut this season.
Well! with all these “Kate”s’ running around, how can we keep track of them: Lindsey, Aldrich, Royal, etc.
After a promising beginning, this career is surely one of the biggest frauds going among “recording artists”.
Measha’s CSO debut seemed out of sorts, sorry to say. Looking wonderful, appearing in a mirror-silver gown and barefoot (!?!) she performed four songs from Des Knaben Wunderhorn. Balance problems at Symphony Center – she seemed underpowered and choppy in the humorous songs, and unable to sustain a reliable legato in “Urlicht”. Flashes of the voice are attractive and exciting, but there is too much middle-of-the-road singing elsewhere. I was in the gallery where it’s my understanding voices don’t project very well (people at Bartoli’s recital a few seasons back said she was inaudible up there). Like a lot of divae of late she doesn’t hold herself “quietly” while singing and squirms and shifts a lot. Whatever happened to the singers who would stand erect with the vocal mechanism working “internally”?
“Whatever to the singers who would stand erect with the vocal mechanism working’internally’”?
They all died.
Don’t feel bad, Mr. Chicago “My kind of town — it’s one town that won’t let you down!”– Ms. Mishmash put on the same kind of show – great dress, queenly airs, tremulous mezza voce unsupported nothingness, in her Carnegie Hall apparition last year with Maestro frankly worst-than-most. They make a good pair. I had no idea I’d seen a “star” and thought she was some girl who had wandered into Carnegie in her best prom date dress. Who’s to blame for this? I do gather that she has a heart problem — occasioned by the dramatic weight loss perhaaps, and for that I do empathise. But voce? Gimme good old Anna, who PUTS OUT!