TRACKLIST – EDEN
Charles Ives 1874-1954
The Unanswered Question
Rachel Portman b.1960
The First Morning of the World*
Gustav Mahler 1860-1911
“Ich atmet’ einen linden Duft!”
Biagio Marini 1594-1663
Scherzi e canzone Op.5
“Con le stelle in ciel che mai”
Josef Mysliveček 1737–1781
Oratorio Adamo ed Eva (Part II)
Aria: “Toglierò le sponde al mare” (Angelo di giustizia)
Aaron Copland 1900-1990
8 Poems of Emily Dickinson for voice and chamber orchestra
Nature, the gentlest mother
Giovanni Valentini c.1582–1649
Francesco Cavalli 1602–1676
Opera La Calisto (Act I, Scene 14)
Aria: “Piante ombrose” (Calisto)
Christoph Willibald Gluck 1714–1787
Opera Orfeo ed Euridice Wq. 30
Danza degli spettri e delle furie. Allegro non troppo
Christoph Willibald Gluck 1714–1787
Scena ed aria Misera, dove son! From Ezio Wq. 15 (Fulvia)
Scena: “Misera, dove son!… ”
Aria: “Ah! non son io che parlo…”
George Frideric Handel 1685–1759
Dramatic oratorio Theodora HWV 68 (Part I)
Aria: “As with Rosy steps the morn” (Irene)
“Ich bin der Welt abhanden gekommen”
Richard Wagner 1813–1883
5 Gedichte für eine Frauenstimme WWV 91 (Wesendonck Lieder)
George Frideric Handel
Opera Serse HWV 40 (Act I, Scene 1)
Recitativo: “Frondi tenere e belle”
Aria: “Ombra mai fù” (Serse)
Joyce DiDonato’s new album could probably best be described as a concept album and, despite one or two less than smooth transitions, is best listened to in one sitting and in the order she has set out.
At present DiDonato is in the middle of a twelve city tour, taking in both Europe and the USA and I am very much looking forward to seeing her perform at the Barbican in April. Looking at the photographs from some of the concerts she has already done, DiDonato is using to redefine the the recital format. Apparently every audience member is to receive a seed to plant as they’re asked: ‘In this time of upheaval, which seed will you plant today?’
“With each passing day,” writes DiDonato, “I trust more and more in the perfect balance, astonishing mystery and guiding force of the natural world around us, how much Mother Nature has to teach us. EDEN is an invitation to return to our roots and to explore whether or not we are connecting as profoundly as we can to the pure essence of our being, to create a new EDEN from within and plant seeds of hope for the future.”
As on the album, she is accompanied by her regular collaborators Il Pomo d’Oro under Maxim Emelyanchev.
The programme ranges wide, from the 17th to the 21st century and at least one change, when we go from the 21st century to the 17th strikes me as a little jarring, but for the most part the choices are sensible and the journey well thought out.
The album starts with an absolutely haunting performance of Ives’ The Unanswered Question, in which DiDonato wordlessly sings the trumpet part. This segues into a commission from the Academy Award winning composer Rachel Portman, entitled The First Morning of the World, to a text by American writer Gene Scheer. This is a wonderfully evocative piece, full of sweeping lyricsm and gorgeous harmonies. Portman surely could not have hoped for a more beautiful performance. This is followed by a lovely performance of Mahler’s Ich atmet einen Linden Duft, though we miss the richness of Mahler’s original orchestra in this chamber re-orchestration.
The first slightly incongruous transition happens here with Biagio Marini’s Con le stelle in ciel che mai, though there is nothing wrong with its execution and, once I’d got used to being plunged into an entirely different sound world I enjoyed it and the Mysliveček aria from his orotorio, Adamo ed Eva, which follows.
This first part of the recital finishes with a masterful performance of Nature, the Gentlest Mother from Aaron Copland’s 8 Poems of Emily Dickinson, beautifully played by Il Pomo d’Oro and in which DiDonato sings with excellent diction without compromising her legato line.
It is followed by one of two purely orchestral tracks, the Sonata enharmonica by Giuseppe Valentini. The other is Gluck’s Dance of the Spirits and Furies from Orfeo ed Euridice.
DoDonato is known to us as a great Handel singer and one of the highlights of the album is Irene’s As with rosy steps the morn from Theodora, which is deeply felt, even if ultimately for me it doesn’t quite erase memories of Lorraine Hunt Lieberson in the same music. Handel is also reserved for the final piece, which comes after Mahler and Wagner, leaving us to bask in the peace and calm of his Ombra mai fu.
DiDonato is in fine voice throughout, her fast flicker vibrato, which can sometimes be intrusive, hardly in evidence at all. I must say that I rather like this “concept” and I have no hesitation recommending this album, and I would urge you to listen to it in one sitting. If I have sometimes had reservations about DiDonato’s ability to convey personality and individuality in the studio, I have no such reservations here and would recommend this album unreservedly.