Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic. Read more »
First, an admission. I do not love Elina Garanca’s voice. I admire it a great deal—the fluidity of tone across her registers, the effortless technique. But I only like the basic timbre; I cannot say I love it. What makes Garanca special to me is less the quality of her voice than the way she deploys her instrument.
In recent years, the voice has grown, transitioning from lyric to spinto. Revive is a manifesto of sorts, declaring her intentions for the new direction in her career. The aria choices are eclectic. Garanca covers both familiar ground and roads less travelled, even a couple of rarities. She offers tantalizing roles like Eboli, Dalila, and Charlotte, but not “O don fatale,” “Mon coeur s’ouvre a ta voix” or Charlotte’s Letter Aria. Read more »
Monteverdi’s L’incoronazione di Poppea (The Coronation of Poppea) is opera on the grand scale with mellifluous arias and breathtaking duets that tell a tale of ancient Roman political machinations, adultery, and murder in which there is no true protagonist. This stunningly expressive music is performed by an all-star cast. Soprano Miah Persson, praised by The New York Times for her “sumptuous sound and elegant lyricism,” is joined by singers who have all won worldwide critical acclaim for their mastery of this beautiful repertoire. The Guardian wrote that “there are few performers better-versed in the music of Claudio Monteverdi than Rinaldo Alessandrini and the ensemble he founded 30 years ago, Concerto Italiano.” Alessandrini and company anchor a performance that promises to be one of the season’s most thrilling nights of opera.
Programming in solo CDs can range from the banal to the fascinating. On the one hand, one cannot fault the record companies for releasing single-composer arias discs that they know will move copies. After all, who doesn’t want to hear Anna or Jonas sing their way through Verdi and Puccini’s greatest hits?
On the other hand, singers like Joyce DiDonato repeatedly mine the repertoire for rarities which have not already been recorded dozens of time. And DiDonato always thinks thematically in putting a CD program together. Even her all-Rossini album focused on roles associated with Isabella Colbran, Rossini’s muse and wife. There was no Barbiere or Cenerentola to be found on that disc. Read more »
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Fans of divas who sing 19th and 20th century opera may find themselves searching in vain for CDs to buy with this season’s gift cards, since their idols so rarely put out solo recitals these days.
Das Rheingold is the outlier among the Ring operas, an ensemble work with a fast-shifting plot, animated dialogue, fewer set pieces and less character development.
For her third solo recording, Olga Peretyatko summons the two men who launched her career less than a decade ago