Customer Reviews

Angela Gheorghiu: Live From Covent Garden

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On June 8, 2001, soprano Angela Gheorghiu gave a sold-out recital at Covent Garden, which was recorded by EMI on audio and video in cooperation with the BBC. The concert is divided equally between arias familiar to her many admirers and items that she has rarely or never recorded previously - some a 'preview' of upcoming work with the Royal Opera House. In addition to possessing an extraordinary voice, Gheorghiu is one of the most intense and expressive singers we have today, and this comes through here even if the CD itself isn't an ideal presentation of her gifts.

Let us get the negatives out of the way first. At 51 minutes, the program is far too short. Obviously, the concert itself was longer but the BBC apparently wanted to broadcast only an hour. Still, even if an actual television broadcast has to be truncated, a CD can hold at least another 20 minutes of music. None of Gheorghiu's material was cut, but I'm sure she would have done more singing if there wasn't the BBC's restriction. Also the editing makes the applause seem intrusive and artificial instead of having the true ebb and flow of a live performance. The absence of Verdi is a surprise as well as a disappointment. And yes, there are several moments of suspect intonation, muddy tone, and other lapses that probably wouldn't have happened in the studio. This is quite noticeable in 'Lascia ch'io pianga', which isn't really a good fit for Gheorghiu despite her intensity and melancholy. I am willing to give her another chance with this repertory, though; no less a Handelian than Mark Minkowski wanted her to record Cleopatra.

Gheorghiu is on surer ground with Mozart. In 'Porgi amor' Countess Almaviva's suffering and humanity are palpable, and her handling of the phrase 'O rendentimi tesoro' is particularly striking. A pity she doesn't want to do the role on stage; at the very least I hope she records 'Dove sono'.

It is of course the great ladies of 19th and 20th century French and Italian opera where Gheorghiu truly comes into her own. She has few equals and no superiors in these roles. Buoyed by the energy of a live performance, 'Adieu, notre petite table' is absolutely heartwrenching and perhaps even better than on her complete recording of 'Manon'. She is equally splendid in portraying Louise's ecstasy, and this is a role I want to hear her sing in its entirety. Of course, the CD is worth buying for the Puccini selections alone. What makes Gheorghiu a truly great singer of Puccini is that in her hands his heroines are hardly 'little women'. In 'Tu che di gel sei cinta', we hear all of Liu's love, courage, defiance and sorrow. 'Un bel di' is glorious - Butterfly could have been written especially for her! Here is a wealth of word-painting, gorgeous phrasing, ecstatic climaxes, longing, giddiness, mischief and heroic resolve. What a pity that she keeps putting off recording the role in its entirety. Her Adriana Lecouvreur is very promising, and it is a treat to hear the aria sung by a beautiful young voice instead of a diva past her prime. I believe she will sing the entire role at Covent Garden in Fall 2003.

As the CD 'Casta Diva' was released several days before this concert, it was inevitable that Gheorghiu would sing the title track. Despite minor glitches, this reading is also very impressive. As in the studio recording, it is a genuine prayer, contrasting the priestess' desire for peace and the woman's desire for her lover. This opera is also a strong possibility for her at Covent Garden, probably around 2006.

We then have three encores. Unfortunately, I have an aversion to 'O mio babbino caro' that not even Gheorghiu can overcome, but I suspect few people reading this share my opinion of this aria. In keeping with her desire to bring Romanian material to Western audiences, which I heartily approve of, she then sings a delightful folk aria from Tiberiu Brudiceanu's 'La Seceris' (The Harvest), a classic in Romania. This is also worth buying the CD for. Unlike just about everybody else, I adored her 'I Could have Danced All Night'. I think that considering how beloved Gheorghiu is in Britain it's about time she sang something 'British' (albeit by an American composer), even if she could use the services of Henry Higgins! I note with amusement that her pronounciation of the word 'dance' vacillates between the British and the American...

Ion Marin conducts the Covent Garden orchestra solidly and gives Gheorghiu decent support, but she has worked with many better conductors. Since all the purely orchestral material was cut, including a take on themes from 'Un Ballo in Maschera' by Johann Strauss that I would have liked to have heard, we may have missed Marin's chance to shine. Admittedly, his whole heart is in the Romanian piece.

British critic George Hall contributes a respectful and admiring essay on Gheorghiu's career and this concert. We get full texts and translations of all selections and several photos of Gheorghiu at the concert. I actually would have preferred that one of these grace the cover instead of her admittedly striking black-and white pose as a 1940s movie star (Rita Hayworth?).

If you have access to a DVD player (I do not as yet), you might want to rent or buy the DVD of this concert before you buy the CD. I have not seen it, but in addition to having a visual document of Gheorghiu's expressive face and stage presence, the DVD has bonus material of an interview and a photo gallery (and, unfortunately, a dreadful 'music video' of 'Casta Diva'). In the meantime, despite its flaws, this CD is a fine document of what must have been a memorable evening.

Though she's very original and proud of it, Gheorghiu is really the new Callas; she can sing anything, with a superb sense of stage and style, a warm and beautiful voice with a strong technique based on the very Bel Canto italian school.
The highest results are obtained with Charpentier's Louise, Puccini's Liù and Bellini's Norma.
At least a true opera star, and also a Beauty. I'm looking forward to her next concert to be captured in dvd.
Buy it !!!!

It's only been a few months since I've gotten into opera, so this review is more in layman terms and may be rather simplistic. From a beginners perspective, you can't go wrong with Gheorghiu as her voice is very beautiful, smooth, and full of clarity, which is all translated onto this DVD with her wonderful performance. On the second viewing, I was going to work on my computer while it played in the background. I ended up completely ignoring my work and watched her sing again. You can tell by her facial expressions that she really gets into the feeling of the arias. Highly recommended.

ANGELA GHEORGHIU - LIVE FROM COVENT GARDEN, LONDON.

The opening song is LASCIA CH'IO PIANGA from Händel's opera RINALDO. It's a very beautiful song.
DEPUIS LE JOUR is a amazing. Angela Gheorghiu has great charisma with a lovely smile.

UN BEL DI, VEDREMO from MADAM BUTTERFLY by Puccini. Angela has a fantastic voice, with warm and fullness.
ECCO: RESPIRO APPENA. LO SON L'UMILE ANCELLA. Angela sings it marvellous.

Angela sings CASTA DIVA live on stage The song is also as a special music video on this DVD. This is a very impressive song, with a quietness you don't find in pop/rock music. The song has the time it takes to blossom beautifully. Angela's voice is very beautiful.

Puccino's O MIO BABBINO CARO. Is one of the most beautiful arias. It's so wonderful.

The final song is I COULD HAVE DANCE ALL NIGHT from MY FAIR LADY. It's a lively and lovely song.

This is a wonderful concert and the sound on the DVD is excellent.

I personally don't believe Angela Gheorghiu is the "next Callas"--she's not neurotic enough. She has a beautiful voice, excellent control, wonderful accuracy of pitch and timing, and she sings from the depths of her heart, living the piece. Absolutely charming. But she's not a Callas. The Callas fire simply isn't there; no tempestuous wild animal quality to sear your soul. But that doesn't mean Angela Gheorghiu isn't great to watch and to listen to. And this concert is beautifully recorded--the Dolby Digital sound is fantastic, with a superb balance between the orchestra and the diva (although when we hear the applause, it sounds as though it's coming through a tunnel), but the concert sound is as close to perfect as we find these days. The concert itself is also well balanced with a good range of very beautiful music. It's a great addition to my collection, and I'll listen to it often. You won't be disappointed--unless you're expecting Callas.

Reaally enjoyed this production of La Traviata with Angela Gheorghiu. She is so good. And when she opens her full voice I think of the great Renata Tabaldi. The set,color and sound is also great. Anyone who buys it will not be disappointed. Also purchased Angela at Covent gardens and loved that one too. Mario C.

En este breve (56 minutos) pero sustancioso recital (grabado en Junio de 2001 en el Covent Garden londinense), la soprano rumana ANGELA GHEORGHIU se confirma como una de las grandes divas del panorama actual. Con una presencia escenica y una elegancia de una sola pieza, Gheorghiu irrumpe en el escenario del Covent Garden con paso firme, y en todo momento su saber estar es un deleite para la vista. ¡Que clase! En lo vocal (una vez mas) saca a relucir toda sus armas al maximo nivel: la belleza de la voz, la buena tecnica, el gusto, la expresividad...Todo esta perfecto en un programa que toca los estilos mas diversos (Haendel, Mozart, Massenet, Charpentier, Puccini, Cilea, Bellini y hasta el musical con Loewe). En cada intervencion, la Gheorghiu rezuma perfeccion por los cuatro costados. La orquesta del Covent Garden (dirigida por ION MARIN, que asume su papel de secundario ante la presencia de la diva acompañando con mucha calidad) suena divinamente y el exito es clamoroso. Un espectaculo digno de contemplar una y mil veces.

Son de agradecer los extras: una entrevista con Gheorghiu, una galeria fotografica de la diva y un video promocional con el aria 'Casta Diva' (que tambien aparece en el recital) con una Gheorghiu glamourosisima haciendo playback.

Un bello documento todo el para disfrutar muchas veces y disfrutar con el arte de la que es, sin la menor duda, una de las cantantes con mas clase y estilo de nuestros dias.

Angela Gheorgiu sounds uncomfortable in this live performance. Te evening gets off to a bad start with Handel and Mozart, and even in the idiom which is usually her srength (e.g. Puccini), she sounds careworn and struggling with pitch.

Again I think she offers an interesting concert that doesn't start with music that she is well known for. Instead she starts softly and slowly instead of with a big bang of an aria. It's almost as though she is getting her "sea legs" so to speak. It makes you pay attention. She draws you in because you haven't heard her sing the Handel or the Mozart before. I have found other reviews interesting in the complaints about the applause. Well, it is called "live". Do these reviewers expect the applause to be cut out or that the audience shouldn't have responded? Also, are we so used to recordings made in studios that we can't appreciate someone doing this live? Good for her. I am a fan so am biased. But again, you go girl! Brava!

AG the person is far more interesting and significant - for her

Wagnerian awfulness, and vampirism -- see below -- then the mediocre musician she is in fact.

Yes, AG is a great entertainer onstage - when - her voice is amplified

and she is "on" - which is usually. But she has large imperfections as a musician-soprano -- always has - and dozens of superiors. She simply is not in the same league onstage (much less in a recording studio) as Renee or Cece -- to mention a few. AG is nearly 50 despite her official bio. She never fulfilled the promise of this 2002 performance. (In 20 years, she's gotten one _nomination_ for a Grammy, and no wins -- except in Europe and Britain - from special in-grown awards organizations.

Her repertoire has strangely shrunk since 2002, and she never really mastered but half-a-dozen Puccini and Verdi works, and La Rondine; she's a classic jet-setter who's squandered her gifts. She uses the months between performances to play, rather than mastering roles, and has a fraction of the repertoire of her betters. Sad to say, she is one of those rare artists whose bad performaces offstage - in life away from music - has negatively affected her onstage performances and legacy. She has been an utter failure in the recording studio, in comparison to her well-known compatriots, and despite 2+ decades of study, has never mastered Italian diction, much less English. (Her English is still so bad, despite the best tutors money can buy, that she still is prone to explosions and serious misunderstandings -- from _compliments_ and ordinary chit-chat. (I speak from the unpleasant experience of nearly 3 years of correspondence with her, on unrelated topics - she had me promise early on, that I wouldn't read the public writings about her, and I didn't - to my great detriment as it turned out.)

Her colleagues gave her the very apt name "Lavampirette". It is

for unprofessional behaviour, at the least - of which her very public firing by the Lyric Opera of Chicago was but the tip of the iceberg, and one of _many_ old-fashioned diva mannerisms that are echt 19th-century.

One point she was very firm on in our correspondence though, which was right on: _never_ take the public PR announcements at face value - the truth about the inner workings of the opera world are usually 180 degrees from its public face. It really wouldn't matter what is done in private lives, if it was under control enough to enable her to complete a full scheduled run of a performance - which she is now famous for _never_ doing. From this 2002 performer til now, there has been a steady spiral downward, and now Madama is only interested in $ -- look for her to ally more with Andrea B, after the very recent Rome (May '09) earthquake "benefit" concerts with him -- never _really_ "benefits" -- and despite a decade of dissing Andrea in her interviews, as someone who is decidedly not an opera singer, since he never can appear in an opera. (I was appalled - as most - by her utter cruelty in regard to Andrea's obvious disability.)I predict also more appearances with her close buddy Jonas Kaufman - a very bankable rising star > 20 years younger than her, with whom she has partnered several years now...to say they are an item is an understatement...

What really frosted me, was when Luciano P was first hospitalized in NYC

with pancreatic cancer - a death sentence. She didn't visit or say a word to him despite her presence in NYC much of the time he was in hospital....then, she has the chutzpah to participate in a "benefit" for him last year, in Petra, Jordan...and from what I read and saw, there was precious little "benefit" or tribute of any kind to anyone except the particpants. Great food and jewels, though... and this from one who could care less about the big guy whilst he lived.... I think he saw though her, and she knew so...hence the rarity of their performances together when LP was alive.....

How does all this relate to the music she makes? In summary:

1. onstage - a beautiful entertainer-presence and a great, memorable timbre -- but too small a voice. (Marred by silly mannerisms oftimes, though in her acting)

2. in the recording studio - her recordings speak for themselves - put anything she has recorded alongside the same piece any of the greats recorded, and its immediately evident (phrasing, tempo, breathing, diction, control, accuracy... you will be appalled if you follow her singing with a score in hand...)

3. offstage - truly a vampire. One who _takes_ .... I could write a volume -- and may....

I wish her well, and especially good health! She is one who is quite needy of that!