Joyce DiDonato – Eden

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TRACKLIST – EDEN

Charles Ives 1874-1954
The Unanswered Question

Rachel Portman b.1960
The First Morning of the World*

Gustav Mahler 1860-1911
Rückert-Lieder
“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
Sonata enharmonica

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)

Gustav Mahler
Rückert-Lieder
“Ich bin der Welt abhanden gekommen”

Richard Wagner 1813–1883
5 Gedichte für eine Frauenstimme WWV 91 (Wesendonck Lieder)
“Schmerzen”

George Frideric Handel
Opera Serse HWV 40 (Act I, Scene 1)
Recitativo: “Frondi tenere e belle”
Aria: “Ombra mai fù” (Serse)

*World-premiere recording

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.

Nelson’s Les Troyens

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I love this opera, though I’ve never actually seen it staged. The first time I heard it live was in two halves at a couple of Proms concerts in 1982. It was conducted by Gennadi Rozhdestvensky and starred Jessye Norman as Didon, Felicity Palmer as Cassandre and Richard Cassilly as Enée. I didn’t know the opera as well then as I do now, but I remember even then I loved it. People often moan that it is too long, hence why it is often split into two parts, but it’s no longer than some of Wagner’s operas (and shorter than one or two). Subsequently I heard it twice at the Barbican under Sir Colin Davis, for whom Berlioz was something of a lifelong passion. Indeed without him it is quite possible that Berlioz would still be underappreciated today. I’ve also long enjoyed both Davis’s first pioneering recording for Philips, with Josephine Veasey and Jon Vickers, which was based on performances at Covent Garden, as well as his later recording with the London Symphony Orchestra, recorded at concerts at the Barbican, with Ben Heppner, Petra Lang and Michelle DeYoung.

It is a magnificent score, Berlioz’s greatest achievement, and it is a terrible shame he never got to hear it performed in its entirety. According to the Berlioz scholar, David Cairns, it is

an opera of visionary beauty and splendour, compelling in its epic sweep, fascinating in the variety of its musical invention… it recaptures the tragic spirit and climate of the ancient world.

As always with Berlioz, the orchestration is superb and he writes brilliantly for major and minor characters alike, one of the most haunting moments in the score being given to the young sailor Hylas, as he laments for his homeland at the beginning of Act V.

This recent set has garnered some great reviews, so I was keen to hear how it measured up to the Davis recordings. From an orchestral point of view it is certainly very fine, but the singers are all a little light of voice for my taste. I heard Michael Spyres singing Berlioz’s Faust at the Proms not so long ago, and I found him a wonderfully musical and intelligent singer. I wonder though whether his voice might be a tad too small for Aeneas. There were times at the Proms that I thought his lyrical voice a little too small even for Faust. Maybe I’ve become too used to more heroic voices like Vickers and Heppner, but the role of Enée was in the repertoire of the great Georges Thill, who also had a rather more beefy voice than Spyres. Lemieux is also a light voiced Cassandre, though she’s a great improvement on Lindholm, who is on the first Davis recording. I wouldn’t prefer her to Lang on the second Davis recording, nor Deborah Voigt, who sings Cassandre on the less successful Dutoit recording and also on a live Met recording, with Lorraine Hunt Lieberson as Didon.

DiDonato is probably the most successful of the soloists. Some find her vibrato distracting, though it doesn’t bother me unduly, and she is thoroughly inside the role. However she doesn’t evince the sort of innigkeit you find in Janet Baker, who can be heard in incomparable versions of the final scenes conducted by Sir Alexander Gibson, and also in a couple of live performances under Davis, nor of Hunt Lieberson, who can be heard in the live Met performance under Levine, mentioned above. That said, I don’t know of anyone else around today who could sing it better.

Nor do I wish to be too picky about a recording that is a considerable achievement for all concerned. It gets a cautious thumbs up from me; certainly the best since Davis I and II, with my preference still being for Davis I.

Joyce DiDonato – Stella di Napoli

 

Joyce DiDonato gives us here a collection of largely little known bel canto arias, some by composers such as Pacini, Mercadante, Valentini and Carafa who are hardly household names. It doesn’t get off to the best of starts as the heroine of Pacini’s Stella di Napoli sings a jolly little ditty, in which the heroine berates her lover for not being there to hear her dying breath. It is the sort of aria that gives bel canto opera a bad name and is exactly the thing Gilbert and Sullivan took such delight in parodying.

Happily we are on much stronger ground with the next item, a lovely elegiac piece from Bellini’s Adelson e Salvini, and thereafter things greatly improve, though it is safe to say the best items are those by the more well-known triumvirate of Rossini, Donizetti and Bellini, even if the final item, a fourteen minute excerpt from Pacini’s Saffo does much to exonerate him.

DiDonato’s singing is supremly accomplished with a mastery of coloratura, scales, trills and legato which is second to none. Added to her technical accomplishments, she has a wonderful grasp of the dramatic situations presented and there is no doubt that she is pre-eminent in the field today. If I were nit-picking, I would say that her singing doesn’t quite have the sheer personality of some of her predecessors in this music, and the preghiera from Maria Stuarda doesn’t quite erase memories of Montserrat Caballé or Janet Baker in the same piece. But, that would be unfair and we should be grateful for what we have, which is a great deal; a singer at the height of her powers with a beautiful voice, technically proficient, put at the service of the music.

She is excellently supported by the Orchestre ey Choer de l’Opéra de Lyon under Riccardo Minasi and the disc comes with notes, texts and translations, though a little more information about the dramatic situations would have been welcome. Warmly recommended.

Amor e gelosia – Handel Operatic Duets

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Looking through my collection I note that the majority of fairly recent recital acquisitions seem to be mostly of music of Handel and the baroque. I’m not sure whether this has more to do with a change in my taste, the general change in taste or the dearth of decent singers of Verdi, Wagner and nineteenth century muisc in general. Whatever the reason, I think it’s safe to say there are far more excellent Handel singers around these days than there used to and the performers on this disc are certainly fine examples.

Handel’s operatic duets are rare delights, usually either expressing sadness at lovers’ parting or delight in reunion, and there is a good cross-section of both types in this recital. That said, I am not a Handel specialist and I personally find less variety here than I would in a programme of duets from the bel canto period or Verdi. The programme is drawn from well-known works, such as Rinaldo, Serse and Rodelinda, as well as lesser known works like Silla and Teseo, with no less than five excerpts (including the Act III Sinfonia) from Poro, and certainly no fault can be found with the performances.

We hear two very fine voices in prime condition, DiDonato’s darker, straighter mezzo contrasting and blending nicely with Ciofi’s bright, clear soprano. Both are expressive artists with a fine legato and superb technical proficiency in the florid music. They also repond well to the dramatic elements in the music, and are superbly supported by Alan Curtis and Il Complesso Barocco. The disc can be recommended unreseverdly to all lovers of Handel and the baroque, even if on this occasion, and I realise this has no relevance to the present disc, I found myself wishing I was listening to, say, Caballé and Verrett in their disc of Romantic opera duets. Maybe my tastes haven’t changed that much.