Customer Reviews

Angela Gheorghiu - Mysterium ~ Sacred Arias

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On the cover of this CD, there is a small inscription, "per Nina." Nina was Angela's sister to whom she wishes to dedicate this recording. I think that beyond the golden and personal words, other spiritual connotations are involved. I agree with the format of this CD because I understand the authors' philosophy of life, which I will try to explain.

I should underline first that the word ROMANIAN keeps repeating here: Angela, Ion & Constantin Marin (the conductors), the Romanian MADRIGAL Choir, Romanian songs, etc. I see a more personal affiliation in this display, mostly because Romanians usually pay respect to thier cultural roots. Angela Gheorghiu begins with four Romanian "songs." These express the Romanians' bond with God, which is unfortunately rarely encountered on other Western CDs (listen, if possible, to other recordings of the Romanian MADRIGAL Choir!).

Then, the universe opens to a broader horizon, to a "sacred" repertoire of songs beautifully arranged or composed for orchestra and chorus. The sacred area is also expanded to two non-sacred pieces (Brahms's Wiegenlied and Mendelssohn's Auf Flugeln des Gesanges) simply because of their sacred quality, as stated in the CD Notes.

"Mysterium" reveals the truth and beauty of the human world with purity, simplicity, serenity, respect for people and God, melancholy, and understanding. It is the fruit of people coming from different places, reunited, who sing together the concert of human values. Musical expression is highly achieved here, not through the grandeur of the sonority and the number of forces, but through the artists' inner humbleness.

'Mysterium', Angela Gheorghiu's offering of sacred music from both the Romanian Orthodox and Western spiritual traditions, is a very personal statement from this great soprano. She grew up during the infamous Nicolae Caescescu dictatorship, where religious music, though barely tolerated, was still one of the few ways one could express oneself and escape the terrors of everyday life. All of this music, both Romanian and European, has very strong spiritual and emotional significance for Gheorghiu - in fact, the album is dedicated to her sister `Nina' (Elena Burlacu Dan, who was killed in a car accident in 1996). The soprano's astonishing voice, huge palette of tonal colors, superb technique, dramatic fire, and most importantly, her genuine faith, total sincerity and commitment, and her humility make this CD a must for anyone even remotely interested in any of this repertory.

One of the things I most admire about Gheorghiu is her desire to share the music of her homeland with the rest of the world, and this CD begins with four mesmerizing selections of music from the Romanian Orthodox Church by late 19th and 20th century composers. These evoke for Gheorghiu and the listener the awe and mystery of Romanian monasteries with their incense and candle wax. Although this music is traditionally sung a capella, it is here sung with orchestral accompaniment - Gheorghiu did check with religious authorities in Bucharest to make sure this was, er, kosher. Actually, some of the intervals and melismas are very reminiscent of Jewish music, and I'd be very interested in learning which tradition borrowed what from whom. The first sound we hear on the disc is the toaca, a wooden percussion instrument used in lieu of bells to call the faithful to prayer. This leads into `Tatal Nostru', a Romanian version of The Lord's Prayer, which immediately shows the arresting, soulful quality of Gheorghiu's voice and ends on a gorgeous floated 'Amen'. `Privegati e si rugati' (`Watch and Pray') is equally beautiful. `Stihuri din Catavasiile intampinarii Domnului' (Verses from the Tellings of the Meetings of the Lord') is the most elaborate of the compositions here, a call and response on the words 'Slava tie Doamne' ('Glory to you, O G-d) contrasting with the more introspective `Iubi-te-voi, Doamne' (`I love Thee, O Lord').

It is a pity that Gheorghiu couldn't devote an entire album to this Romanian music. In particular, I wish she had sung the stunning carol `O ce veste minunata' that her husband Roberto Alagna recorded for his Christmas album, if for no other reason than Decca would have provided the texts and translations that EMI didn't! Still, the Western material which follows is of a very high standard. I applaud Gheorghiu for bringing out such rarities as the Puccini 'Salve Regina' and the Mascagni 'Ave Maria' (based on the intermezzo from 'Cavalleria Rusticana'), in addition to the famous Schubert version of the prayer. And, of course, we have 'popular' sacred songs and Christmas carols that are also dear to the soprano. An otherwise stunning version of `O Holy Night', with rich, broad phrasing and a spectacular high C, is marred slightly by her singing it in English instead of the original French. `Mille cherubini in coro' is the sweetest and tenderest lullaby imaginable, as is the famous one by Brahms. We go a bit more into 'art song' territory with Gheorghiu's laughter-filled, tender and seductive 'Auf Flugeln des Gesanges'. Oratorios are represented by 'Quia respexit' from the Bach Magnificat, which makes me eager to hear Gheorghiu sing the soprano lead in the Mozart as well as the Verdi Requiem she has already recorded, and the 'Pie Jesu' from Faure Requiem. Despite Gheorghiu's palpable sorrow, this is a bit of a disappointment because she seems to have trouble actually pronouncing the word 'requiem'. A truly 'joyful and triumphant' 'Adeste Fideles' concludes the album.

However, the highlight of the Western pieces is Louis Niedermeyer's `Pieta, Signore'. I was surprised that Gheorghiu included this since it is a piece I usually regard as tenor property - I have recordings by Bjorling, Kraus, and Pavarotti. She makes this into a mini-opera, a drama of repentance and plea for G-d's mercy with glowing tone, impassioned urgency, and magnificent trills. I only wish she had taken the reprise pianissimo as Bjorling did.

Of course, one must acknowlege the superb work of the Madrigal Choir, who are full and equal partners to Gheorghiu - I'm a choral singer, so I know! The blend of sound is gorgeous and they are adept in every style and in every language on the program, English included. I hope to find other CDs featuring them, and that Gheorghiu (who loves them) works with them again. Ion Marin does a fine job conducting the London Philharmonic and instilling the proper Romanian spirit into these English musicians.

I have somewhat mixed feelings about the notes. Although there is good biographical information about Gheorghiu and her relationship to this music, there isn't enough information about the music itself, and some of the comments about the 'desacralized cosmos' come off as somewhat pretentious for a CD booklet. Also, the Madrigal Choir sing in all the Romanian selections, not just the two they are credited for. Finally, the cover really is unfortunate. I understand that they were trying to paint Gheorghiu as a Romanian Orthodox icon, but it comes out looking rather cheesily new age/heavy metal.

This CD was intended as a companion to the superb BBC documentary `Angela Gheorghiu's Romanian Journey' where the soprano travels to the astoundingly beautiful Romanian `painted churches', narrates a history of the Romanian Orthodox Church and its music, and sings several several selections from this album. I can only pray that this is released on DVD or at least shown in the US. In the meantime, with 'Mysterium' you can have a religious music experience far classier than the average 'diva/divo Christmas album' and hear a singer who truly has 'sacred fire' in her soul.

I am going to say what I think about the cd. I think it's wonderful music, which helps me relax at night, and there is not one night where I don't fall asleep to this haunting, dark music. I like Romanian music, and was brought up around a Romanian house-keeper for a couple of years, so Romanian music in particular isn't that new to me.

I do know that Angela is Romanian, but I do not believe this cd has to be played only around Christmas time. It's music for any time of year. Sorry, I don't believe also, that the cover of the Mysterium is of poor quality, or a sign that Angela is losing it. One nore, I don't live in New York, and still take the time to appreciate all types of Classical music like this, and appreciate Angela's style for being different. That goes for the cd design as well, despite what image Angela portrays.

Around Christmas 2001, I saw the cd sitting on the shelf in the store. I almost bought it, but did not have the chance to listen to it prior to buying it. I left it there and went home. Only last week, did I listen to it in another store, and finally decided to buy it. All the songs are beautiful, dark and haunting. Track 1(Tatal Nostru) is gorgeous, and Angela has the right vocal ability to pull her voice in our really propel it outward.

O holy night is also a lovely song, and it is the first time I ever heard her sing in English. Pie Jesu is pretty, as well as all the other tracks.

The really descriptive booklet explains the reason why Angela has made this particular type of album, and I am not sorry she did, or sorry that I bought it.
The different Ave Maria arrangements are different to the ones I know by heart. These are the real oldy versions which have withstood the test of time.

I liked the idea of putting Adeste Fideles at the end of the cd, because it breaks the solemnity of the cd. The graphic on the cd itself is pretty too. Mysterium is a fine cd to add to your Classical music collection. There's nothing wrong with the packaging or the design at all.

Hope my review helped you.

A friend of mine suggested this release after I kept on raving on how beautiful Renee Flemings recording of Sacred Songs was. And Ms. Gheorghiu certainly doesn't have to hide behind Renee! Her voice has a tad more ping than Renee's and it's slightly darker but it has this mysterious glow (Excuse my bad descriptions) that makes each of these songs unforgettable. A perfect addition to my ever growing collection of operatic discs. Brava Angela!

This is a gem---first, the music from the liturgy of the Eastern Church is gorgeous, the arrangements and the choral support are beautiful, and she of course sings as if she owns the music, which of course she does. The tempos for O Holy Night and Adeste Fideles are too fast for my taste---she sort of marches thru them--the rest is exquisite.

This won't be as long or detailed or even knowledgable as the previous two reviews. Fortunately, they are both positive where it counts - Angela is well-named, has the voice of an angel. Soft, textury, intense, variegated as some of the yarns I love to knit!

I'm not sure if there could be a human being in the world who failed to appreciate and LOVE this CD. My whole heart adores listening to it!

Janet Knori, author of "Awakening in God"

Angela Gheorghiu performs here in 5 different languages, starting with 4 Romanian sacred arias (that one can not find them easily elsewhere), followed by similar arias in English, Latin, German and Italian. The music is DIVINE. Angela uses her DIVINE voice to give us a DIVINE performance glorifying DIVINITY. It is BEAUTIFUL, ADORABLE, TOUCHING, and ETERNAL. To me this CD is an example of PERFECTION.

It was very nice CD.
liked every music except few exceptions
4 Romanian songs and Pieta Signore, Quia respexit were very nice.
Pie Jesu, Auf Flugeln des Gesanges, Ave maria were fine, but not great(there are better versions by Battle, Bonney, sumi Jo..)in the market)).well, overall, it is very easy music to my ear.

The real mystery about this CD is, why??? Why did anyone make this silly CD? And why is Angela Gheorghiu dressed like some type of strange angel with a strapless outfit on a disk of sacred arias. (I thought from the cover of Casta Diva that Angela Gheorghiu thought herself a goddess, but on this CD, she seems to have been demoted to mere sexy angel. A few more CDs like this and she will definitely be a mere mortal once again.) Which brings me to the final why, why is Angela Gheorghiu such a big star?

On the plus side, there are interesting Romanian selections with chorus and, I always give an artist credit for introducing new and different selections. Also on the plus side, her voice sounds much fresher here than it does on her recent Verdi/bel canto/Tosca outings. She is much less overparted since most of the music is lighter and more appropriate for her voice. The orchestra and chorus make nice contributions althought I thought some of the tempi were a little off.

But there are big drawbacks to this CD- firstly, the programming is completely bizarre. What is this CD about? It is called Sacred Arias so I was expecting the big soprano important solos from important oratorios, masses, cantatas... but, no. Instead it includes the Romananian pieces, a few genuine sacred arias, then assorted syrupy "religious" songs, plus some songs which aren't sacred at all and two Christmas carols tossed in for good measure. Many masterpieces of the repertoire are omitted so that we can hear decided non masterpieces such as the "arranged" Mascagni Ave Maria and Per Pieta, Signore.... come ON!! They're interesting filler but here they make up the main course.

But the biggest drawback is that Gheorghiu simply doesn't make an important vocal or interpretation statement, instead making everything awash with one tone, one style, one way of doing everything. Bach isn't Gounod isn't Adam isn't Faure isn't Mascagni and French isn't Latin isn't Romanian .. but you would never know that from Gheorghiu's inoffensive but undistinguished and rather ordinary singing here.

I don't understand what she hoped to accomplish with this CD artistically. A pretty voice, completely ordinary singing, little stylistic urgency and a pastiche repertoire - not my idea of a worthwhile CD outing from a supposedly "important" singer.

I admire Angela Gheorghiu's voice enormously. It's a fabulous colour - dark, with strength and metal and passion - and she's clearly a very intelligent singer. I've heard her doing some wonderful things, but side by side, I've heard her perpetrate some atrocities. Her Verdi album was for the most part phenomenally good (with the exception of an atrocious "Caro nome"); her Puccini album had some excellent things in it; her singing of Amina in Donizetti's L'elisir d'amore was surprisingly delightful; her Violetta in La Traviata was wonderful to watch and mostly beautiful to hear. But this!

No. And no.

Almost invariably, singers who produce a "Sacred Album" seem determined to display the very worst of themselves. Renee Fleming perpetrated a sloppy sentimentality that one feared only too likely to occur in her recent album; Sumi Jo produced some of the most horrid sounds in the worst of taste that could be possible with a voice that is as good as hers; and so on and so on. Yet there are exceptions to the "Sacred Album" rule of thumb... and I had hoped this album would be one of them.

It was not. Almost without exception, this was unremittingly awful. It is not one of Ms Gheorghiu's better efforts. Admittedly, there are times when Ms Gheorghiu has produced recordings that are not worthy of her talents - I call to mind her completely unstylistic "Lascia ch'io pianga", among others - but the voice itself is a very, very good voice indeed, not a "run of the mill" voice. I suppose one must expect the good with the bad when one listens to such a unique talent as this often fabulous soprano.

I'm so sorry... but this was one of the bad.