Customer Reviews

Divine Sopranos

5 star:		(2)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This is a very good CD, but a better value for only $10. The weakest singers are definitely mezzo Frederica von Stade (showtune) and Barbara Hendricks (beyond light lyric). Battle's aria from Mahler's 2nd is exceptionally out of place. The CD opens brightly with Dawn Upshaw's version of "On mighty wings" from Haydn's 'The Creation.' It's a strong, colorful piece that takes a bit of a beating from her nasality. Sylvia McNair is stupendous, possibly even surpassing Anna Moffo (the authoritative Rachmaninof Vocalise). Elly Ameling is in her usual good form with this Faure art song. McNair shines even more on "Rejoice Greatly" from Haendel's "Messiah." This may be the best version I've ever heard and possibly surpass Kathleen Battle's, considered one of the better of all time. The Laudamus Te is the crown jewel of the entire CD, it's from Vivaldi's Magnificat. This is truly well-sung by Dawn Upshaw and Judith Blegen, this is the reason you should buy the CD and go out and purchase the Shaw CD in its entirety. Marie McLaughlin sounds a bit weak on her aria from "The Mikado." To be honest, albeit she's English, she's a much better lyric soprano for Mozart, Haydn, Strauss not English through-composed and Operetta.

This is just a brilliant collection. The point here is not to be necessarily true to the original intention of each piece, but to present these amazing women at their most charming and seductive. They most certainly succeed! Remember: each of these arias or songs should be appreciated in their original habitat, if at all possible. I give a brief run-down of the individual tracks:

01. Joseph Haydn: "On mighty wings" [Dawn Upshaw]

Haydn's best-loved choral work celebrates the joy of nature, and man's place in it. This song describes the beauty of birds and flight. Dawn Upshaw delights in singing this in English. Miss Upshaw has one of the most sensuous and seductive voices of our time, and this recording catches her at her ecstatic best

02. Sergei Rachmaninov: Vocalise [Sylvia McNair]

I just plunked down 99c. for the mp3 of this, forgetting that I owned this CD. Sylvia McNair does a fabulous job with this original unchained melody. You have not felt the agony of frustrated love unless you've heard it set to music by Rachy.

03. Faure: Pie Jesu [Judith Blegen]

This solo from Faure's requiem is a favorite. It would be beautiful sung by anybody, and Ms Blegen is wonderful.

04. Berlioz: Absence [Elly Ameling]

I had never heard this aria before. Elly Ameling is a famous Dutch soprano, well known for her performance of Lieder as well as folk songs and the Baroque repertoire, especially Bach. But she blew me away in this one. Berlioz out-Mahlers Mahler.

05. Brahms: Ihr habt nun Traurigkeit (Ein deutsches Requiem) [Arleen Auger]

This is a eerily fascinating movement from the German Requiem. The biblical words of comfort attributed to god (or at least Jesus; I should look it up) are given to a soprano. What an incredibly creative move! Ms Auger is accompanied by the Atlanta Symphony and Chorus. Listen to the tortured harmony of Brahms. This was written soon after the death of both Brahms's mother and Robert Schumann.

06. Carl Orff: In trutina (Carmina Burana) [Judith Blegen]

Interesting, and very lovely

07. Antonio Vivaldi: Laudamus Te (Gloria) [Dawn Upshaw, Penelope Jensen]

One of the few things by Antonio Vivaldi that I can stand to listen to. Sorry I can't do better.

08. Geo. Frederick Handel: Rejoice greatly (Messiah) [Silvia McNair]

One of the jewels of the Baroque soprano repertoire. Though emotionally it does not have great range, it is one of those coloratura arias that are very satisfying to sing and to listen to. Don't let the ornamentation get to you: it is almost the raison etre of the piece, and Silvia McNair sings it well enough to bring Handel up from his grave, singing hallelujah. Her limpidly beautiful version of the slow middle section is to die for; with many performers one wishes that they did something or another differently, but not here.

09. Richard Strauss: Im Abendrot [Arleen Auger]

R. Strauss, the composer of the wonderful trumpet fanfare that has become a symbol of 2001 a Space Odyssey was a cousin of the Strauss Waltz Kings. This slow, lush movement is almost frightening in its intensity. Richard Strauss was one of the greatest masters of the Wagnerian Lied.

10. Wolfgang Amadeus Mozart: "Ach, ich fühl's" {Barbara Hendricks]

This lovely aria from The Magic Flute makes clear why Mozart was considered one of the greatest vocal writers of his generation. Ms Hendricks sings like an angel, in a beautifully understated performance. It's hard to remember that it turns out that this character is the villain of the piece. It was typical of Mozart to give both the villains and the heroes beautiful arias to sing. Listen to the incredible leaps, sung so effortlessly; she is truly a great soprano.

11. Alfredo Catalani: "Ebben?" (La Wally) [Diana Soviero]

I'm unfamiliar with this aria, but it is performed beautifully and convincingly by Ms Soviero.

12. Richard Rogers: "My Favorite Things" (Sound of Music) [Frederica von Stade]

One may wonder whether there isn't a better representative of Ms Stade's performance opus, but I think the answer is that she must have asked for this piece to be the one to be included. This most beloved and admired performer graces this collection with her presence, regardless of what she sings.

13. Arthur Sullivan: "The sun, whose rays are all ablaze" (The Mikado)[Marie McLaughlin]

This song is a perfect example of a very British style in which Sir Arthur was able to write (made possible by the complex meter of William Gilbert's verse). Though ostensibly set in Japan, the operetta is a depiction of Victorian London society and politics. Marie McLaughlin has the perfect voice for it.

14. Gustav Mahler: Excerpt from Movt 5 [Maureen Forrester, Kathleen Battle]

Gorgeous. A fitting end to an amazing compilation. This cut is impressive more for its choral and orchestral elements than its solos, though the solos are indeed wonderful.

NOTE: the "performers" listed are completely erroneous; they are probably soloists in the complete works from which these cuts have been taken.

My scariest nightmare is that of some one breaking into my house and stealing this CD while I am at work.

The selection of excerpts is absolutely pleasing.

Of course I am carried away saying this is the most beautiful thing I know. If you belong to those who don't let anything carry them away, don't buy this CD.

This album contains a lot of beautiful music. And a lot of boring music, too. But since not all of the singers are the same quality, let me briefly give an overview of some of their performances. I've never thought Dawn Upshaw was a very good classical singer. Her voice gets a little whiny sometimes and her vowels are abominably American. Sylvia McNair has a lovely voice, and the Rachmaninov is good, but I've heard better (Renee Fleming and Anna Moffo come to mind), and she makes the piece even longer than usual by taking the two repeats. The second of her pieces has none of the joy that it should have and is very dull, if technically good. Judith Blegen, Elly Ameling, and Arleen Auger are average sopranos giving pretty but emotionless readings of their songs and arias. Barbara Hendricks RACES through "Ach ich fuhls" like it was Lakme's Bell Song, and sounds HORRIBLE. Kathleen Battle is good but Mahler seems out of place here, but not as out of place as Gilbert and Sullivan or Rogers and Hammerstein. In fact, what is Frederica Von Stade doing on this album of divine "sopranos" anyway? She has a lovely mezzo-soprano voice. Diana Soviero seems a bit out of place too, with her not-too-pretty but more powerful and interesting voice.

All in all, if you can get past the blandness of the performances, the album is pretty. But I like my sopranos to be made of much sterner stuff than these.

The vocal talents of Kathleen Battle and Barbara Handricks were far superior to any of the others on this collection. Kathleen Battle's clarity of note and the depth of tonal resonnance of Barbara Hendricks clearly outshone all of the other ladies. Ms. McNair and Ms. Upshaw, listen and take note.