Customer Reviews

Kathleen Battle - Bel Canto Arias

5 star:		(9)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

La Divinia is a name well attributed to the late Maria Callas, but it would not be such a bad idea to extend it for the purposes of this CD. Kathleen Battle is amazing. For many years she'd wowed us with her subtlety and her beautiful Mozart. We all know that she can breath life into many a baroque work. We all know how compelling her spirituals and sacred pieces are. But how many of us knew she was aptly equipped to carry off the more weighted Bel Canto Heroines i.e. Amina in La Sonnambula a role we constantly affliate with Dame Joan Sutherland? First let me begin with the praise of her agility and breath control. As a singer who has a few of these pieces under my belt, I can tell you that they are not easy. Lady Battle makes them sound effortless. Her " O luce Quest Anima" and "Ah non Credea" are among the most beautiful that I have heard. Her diction is so clear that even amidst flourid coloratura, you still have clarity of text. This is the trade mark of a great artist. I strongly reccomend this Cd for all lovers of Beauty and Bel Canto...beautiful singing!

At last! This is the disc I have waited my whole life for: famed soprano Kathleen Battle showing her awesome talents in the bel canto repertoire. After glimpsing her coloratura abilities as Donizetti's Adina (L'ELISIR D'AMORE) and her ability to soar over ensembles as Mozart's Pamina (DIE ZAUBERFLOTE), we all knew that Ms. Battle was tailor-made for these arias and extended scenes. Miraculously, she never strains, her voice is creamy throughout its two and half octave range (listen to those high E's melt in her Amina's mouth), and her diction is remarkably intelligible. The above-mentioned gifts do not even hint at her ability for expression and gift for improvisation. One thing I have always loved about Kathleen Battle is the fact that she DOES improvise, breathing her own unique life into a characterization (listen to her Semele or Rosina for proof of this). This 56 minute CD has her tackle 2 apiece from Bellini, Donizetti, and Rossini. Once again she shows her affinity for Rossini but, like the previous reviewer, I have to express my surprise and delight at how beautifully SONNAMBULA sits in her throat. In fact, in my own humble opinion, her version is even more impressive than Dame Joan's and Sumi Jo's for its sheer vocalism! In this 15 minute scene, she is lent admirable support from Richard Croft, Randi Stene, and Mark S. Doss but make no mistake: this is Ms. Battle's show. Consider me converted... then again, who am I kidding? I'm one of her biggest fans and supporters! Enjoy this gem of a disc--sit back and be astounded.

Another great recital by my dream woman. Battle's voice and style is not to everyone's taste, but that's why we can compare and choose which singers we love and adore! This CD has provided me with endless listening pleasure and I love every minute of it.

Recorded when Kathleen Battle was at her absolute peak in 1991 and three years before her fall from grace when she was fired from the Met by Joseph Volpe, this is a testament to her command in a repertoire absolutely suited to the silvery shimmer of her soprano leggiero. Two plum items from each of each three quintessential bel canto composers' operas, the programme is quite short at 56 minutes but satisfying in its balance and scope.

Comparisons with Joan Sutherland's famous recital under Nello Santi in similar repertoire are neither really germane nor to Battle's advantage, I think. It is clear that we are listening here to a much smaller voice than Sutherland possessed and its joys proceed from the clarity, agility and purity of tone; Sutherland's "O luce di quest'anima" is inevitably more thrilling simply because no-one expects a voice of amplitude to be able to negotiate those coloratura pyrotechnics, whereas Battle makes it sound almost easy - as it is, for a somewhat smaller voice under such control. She has a lovely trill, thin, slightly shrill but pinging top notes up to E flat (not an E, as a previous reviewer claims), excellent diction and a smile in the voice which is wholly beguiling. The most characterful assumption here is that of Norina in "Don Pasquale", which rivals Cotrubas for knowing charm.

The supporting forces - Campanella's elegant direction of the LPO and the impeccable Ambrosian Opera Chorus - are first mostly rate, although neither the tenor nor the bass in "La sonnambula" is anything special. The recording up to DG's usual standard and a full libretto is provided; this was a time when no expense was spared on recital albums from established stars. I also recommend to her fans Battle's wonderful Schubert Lieder recital with Levine - if you can find a copy as it has long been deleted.

I always thought that Joan Sutherland's debut recital CD recorded at the Paris Conservatoire under the baton of Nello Santi and famed for its Donizetti tracks would take some beating. However I was astonished at the quality of this bel canto issue from Kathleen Battle. Not only is she absolutely gorgeous to look at but she has a voice to die for. The sound recording on this DG cd is amazing...not one single "flutter" throughout.Every bel canto composer I worship is here and Donizetti Rossini & Bellini would be proud I am sure to hear the results of the partnership between Battle,Capmanella and the LPO.I listen to this CD and am left wanting "second helpings"!!I only wish DG would have made this a triple CD box set with each CD dedicated to each of the three featured bel canto composers.This is truly an absolute "must" CD addition for any dedicated bel canto fan.The CD appears to be out of print in the UK but readily available in the USA..so please buy it wherever you can...you will find yourself addicted to the wonderful arias here and it will always have pride of place in your operatic collection.Every track is wonderful...my personal favourite is the aria from Linda di Chamonix.... but judge for yourself. A very pleasant musical experience indeed.

Kathleen Battle's voice is the finest I have heard and this CD of Italian opera, Bel Canto, is perfect to show off her incredible talent and natural gift of an amazing voice. Her voice is clear and yet emotive. Her colaratura is so beautiful and warm. It is my understanding that Bel Canto was the insertion of 'show stopper' musical numbers in a opera that is characterized by beautiful tone, total command of vocal techniques, and coloratura. Kathleen Battle demonstrates this wonderfully. The London Philharmonic Orchestra does an excellent job. The french horns in Bellini's I Capuleti ed i Montecchi are hauntingly beautiful.

The Ialian operas of Rossini, Donizetti,a nd Bellini offer examples of Bel Canto which displays Kathleen Battle's considerable talents and skills.

Vincenzo Bellini's opera I Capuleti ed i Montecchi, a retelling of Shakespeare's tale of Romeo and Juliet, the first aria is of Giulietta, Juliet, highly distressed in that she is about to marry a man selected by her parents when she really is in love with Romeo.

Kathleen Battle performs a section from Rossini's 10 opera, Tancredi, based on a novel by Voltaire. Battle signs the role of Amenaide, the love of Tancredi, and the work is meant to be a prayer.

The third selection is from Donizetti's Don Pasquale where a young widow, Norina, sings of her power over the male-sex.

The fourth selection is also by Donizetti. In this selection, Kalthleen Battle sings the role of Linda, a young poor woman in love with a Bohemian young man.

Bellini's La sonnambula offers the opportunity for Kathleen Battle to offer us a selection of a young Swiss sleepwalker, Amina, with accompaning voices of those who find her sleepwalking.

In the second work by Rossini, Battle sings an aria from the opera Il viaggio Reims which is about the coronation of Charles X in Rheims and ironically was written for the coronation of Charles X. Charles X's was the last of the Bourbon rulers of France, his dreadful leadership leading to his downfall. The piece is about a young woman obsessed with her wardrobe and what she will wear to the coronation. She reacts with despair and distress when she learns that her wardrobe has been lost in transit to Rheims. Her maid brings her a stylish litle hat which was not lost in transit, which sends this feather-headed Contessa into joy.

I have owned this CD for 15 years and find it always warm, entertaining, and beautiful.

That's what Bel Canto means, "beautiful singing" -- and that's what Ms. Battle does here. It's a style of operatic singing characterized by full, even tones and a brilliant display of vocal technique.

Kathleen Battle is from my home town of Portsmouth, Ohio, (a fact of which we are all very proud), and I cannot adequately express how astounding her vocal abilities are. You'll hear some of the finest examples of her excellence here.

These are mostly arias from Italian Opera, all composed by three great masters of that art form, including Bellini, Rossini (my favorite), and, Donizetti. The London Philharmonic Orchestra (along with the Ambrosian Opera Chorus) provides the background music and it's all flawlessly performed. This is a DDD recording.

My highest recommendation for those who would like to hear the best of the best in Opera.

This is one of my MOST cherished performances I have by Miss Battle. I've had the pleasure of seeing her in recital and own almost all her recordings. Hearing her sweet voice soar, leap, and dance is like seeing the face of God. Bel Canto is like a healing tonic. It's just perfect. BUY IT.

Kathleen Battle has been the best soprano in her repertoire. She is always exquisite singing opera arias, lieder, chansons, spirituals or jazz.

This is my first Bel Canto album and Kathleen Battle has a new fan. Her voice is so powerful and clear. Now I have to upgrade my stereo system to listen to her nusic 8-).