Customer Reviews

Natalie Dessay - Mozart Heroines

5 star:		(15)
4 star:		(6)
3 star:		(2)
2 star:		(1)
1 star:		(2)

 

 

It's rather interesting that of the reviews available on this site, two give this recording the lowest possible rating and two the highest. How can this be? I found this a deeply satisfying disc although if pushed I wouldn't say it was as awesomely stunning as her French recital. But perhaps - dangerously - we are beginning to take Dessay and others like her for granted. Probably she is less well-suited to some of the pieces on this disc than she is to french coloratura roles but she is still leaps and bounds ahead of just about anyone else singing this repertoire today. She is an artist we need to cherish rather than run down with snotty notices - the operatic world today wouldn't be the same without her. That said, there are problems with this recital. Of all the roles she sings here, the Queen of Night sounds less thrilling than the others - the tone lacks brilliance and the tuning is occasionally suspect - even though it's a role she can sing standing on her head. I rather preferred her wistful, gently sung Pamina (phenomenal control) and it makes me impatient for her to take the part into her repertoire. Constanze is already in her repertiore and her rendition of the arias here are well in character. Much is made of her relative lack of thrust at the bottom of the stave but very few others have the absolute command at the top, again not something we should take for granted. She certainly turns in a spirited performance - as she does in the "Tiger" aria from Zaide. The sensuous "Ruhe sanft" from this latter work suits her well, though neither aria fills me with longing to see it staged, with or without Dessay. No, as we learnt from her thrilling "Mitridate" recording, virtuoso fireworks from Mozart's early works are what suit her best. So we have the fiendish "Ah! Se il crudel periglio" from Lucio Silla, described by Edita Gruberova (and she knew exactly what she was doing) as having some "excruciatingly difficult coloratura". Not here; Dessay makes light of the contortions Mozart demands of her and throws in a few altissimo high-jinks of her own. Ditto the Fawn's aria from "Ascanio" - not the most interesting piece in itself, until Dessay turns it into an ever-more breathtaking display of her phenomenal technique, These two numbers are easily worth the price of the disc. Finally, we are taken to another, much calmer place - Ilia's act three aria from Idomeneo. Recit and Aria are lovingly, sensitively sung. This is another part she could really make something of on stage. Langree's tempi are always apt and the OAE make what to my ear is a period appripriate sound - it's certainly not big-house Mozart, anyway - and generally support their soloist admirably. No, in spite of the nit-picking above, I would recommend this disc most heartily, because it shows an expert doing what she does best - and that's got to be worth hearing.

This is the album that fans of French soprano Natalie Dessay have waited for ever since the release of her first recital disc, which consisted of Mozart's lesser known concert arias. Dessay may be the best coloratura of modern times, and fans of coloratura singing will be pleased with the arias from Lucio Silla and Ascanio in Alba. The latter is ten minutes of sheer virtuosity, and Dessay tosses out high F's and above as easily as Mado Robin or Erna Sack, and with more musical intelligence than either. Her F's also sparkle in the two arias of one of her signature roles, the Queen of the Night from Die Zauberflote, a role she despises although you wouldn't know it from this disc. The famous Revenge Aria is taken at a dangerously fast tempo, but Dessay (and the orchestra, which is fantastic throughout the album) keeps up easily. And to show that there is more to her than mere coloratura agility, she also presents Pamina's aria from the same opera, giving a performance as deep and moving as any I have heard. Her high note on "Ruh" is amazing.

The two arias from Die Entführung aus dem Serail are also very well performed, and almost makes one wish that she had also included "Ach ich liebte," perhaps in the place of one of the Zaide arias. But all in all the CD is excellent, and once again proves that Natalie Dessay deserves credit as more than just a coloratura phenomenon.

One more thing: are the male faun from Ascanio in Alba and the evil Queen of the Night really deserving of the title "Heroines?"

Mere words can not express what a joy it is to listen to Natalie Dessay. This French coloratura has been sweeping the world for a few years now as the definitive Queen of the Night, and even though she's retiring the role, we have it preserved here for life. She is un-matched in what she can achieve above the staff. No other soprano today can sing high E's and F's that are as full and round as Natalie Dessay's. Even Joan Sutherland at her peak couldn't have come close to the sheer beauty of Natalie's notes. Her mid-range, as she described in an interview with Opera News, is still under construction; however, she still brings warmth and emotion to the arias of Pamina and Zaide. The highlights of this album are the two Queen of the Night arias and Constanze's aria, "Marten allen Arten" from Seraglio. I will forever be a fan and will look forward to any recording she ever makes in the future. Brava Natalie!!

HIP in the sense of "Historically Informed Performance", that is. Natalie Dessay has sung roles from Mozart to Berg, but her vocal technique is solidly grounded in historical practices. She began her training, in fact, in the most venerable of historical settings, as a chorister in Toulouse. Plus she's married to the purest of HIP bass-baritones, Laurent Naouri; imagine their quarrels over cafe au lait if either of them departed from the HIP aesthetic and announced a conversion to mid-20th C post-romanticism! The Orchestra of the Age of Enlightenement plays on 'period' instruments at period pitch, by the way, in case you can't detect the difference.

What then about Dessay's vocal technique is plainly HIP? Two qualities should be immediately apparent. First, her vibrato is selective and sparing, used only as an ornament or affective heightening, and never sustained to the point of befuddling the chord. Second, her 'passaggi' -- written arpeggios of quick notes and ad libitum cadential figures -- are deftly articulated, never smudged. And she almost never scoops or swoops into a note in high melodramatic 'can bellow' fashion. Such "refined musicianship" may not satisfy everyone, but it certainly thrills me. Dessay's most exceptional demonstrations of HIP vocal technique can be heard on the arias from Mozart's early operas Lucio Silla and Ascanio in Alba (tracks 4 & 7), when her vertiginous coloratura is acrobatically nimble. Dessay and conductor Louis Langrée interpret these arias and the two from Zaide, as they should, more as ripe Italian Baroque than as Viennese Classicism.

It's hair-raising in a different sense, however, to hear how poorly Dessay sings the Queen of the Night's super-familiar aria Der Hölle Rache. Her tuning is distressing on the ascending chromatics, and her whole delivery seems perfunctory. There's "gossip" in the music world that she doesn't like the role, and that's how it sounds. It was a major error to put this aria first on the CD; I almost didn't continue listening. However...

However, the remaining twelve tracks range from excellent ("Zeffieretti" from Idomeneo) to astounding ("Dal tuo gentil sembiante" from Ascanio in Alba). Recital CDs of arias by Mozart are as uncountable as talk-radio lies. I have eleven of them in my collection by sopranos alone, from coloratura to mezzo. Putting this recital by Natalie Dessay in context, I'd say it's easily superior to those by Bartoli, Battle, Damrau, de Niese, Fleming, Gruberova, and Lott. It fairs well among the best, those by Veronique Gens, Magdalena Kozena, and Sandrine Piau.

Yes, I did mention Danielle d Niese, whose recital of arias by Handel I reviewed 'defensively' a few days ago. It was the experience of hearing de Niese's Mozart that reminded me to listen again to this ten-year-old performance by Dessay. The difference is marked; Dessay has much finer technique.

I hadn't ever heard of Natalie Dessay before I bought this CD, and I've been a fan of hers ever since. She has got one, if not the highest ranges of our time.As easy as her high notes sound, you wouldn't think she is singing high at all. The way she floats those High C's and High D's is just amazing. Especially at the end of "Ah se il crudel periglio", where she belts out a full throated High F that sends chills down your spine. And I would even venture to say that she equals, if not exceeds, Joan Sutherland (whom I also love) in coloratura ability. All her runs are spot on. On top of all that she has perfect legato. This CD is a showcase of one who has been blessed with incredible, almost super natural singing abilities. I would definitely buy it.

No cabe duda de que NATALIE DESSAY es una de las grandes divas de la ópera reciente, y este trabajo dedicado a la figura de Mozart (que incluye algunas de sus arias mas endiabladas para soprano) no hace más que confirmar sus múltiples virtudes: bella voz, coloraturas seguras, gusto cantando, técnica vocal irreprochable... pero tambien sigue ahi esa desagradable tendencia al chillido de los sobreagudos extremos a veces, que es lo único que afea un poco el disco.
No obstante, es digno de escuchar este trabajo, que, aunque se queda corto (dura poco mas de una hora) muestra que, sin ser Gruberova, la Dessay posee una voz muy apropiada al repertorio, y unas cualidades que hacen que se la deba tener en cuenta para estos roles mozartianos, de lo mas variopinto (desfilan la reina de la noche, pamina, ilia, zaide, konstanze, fauno, giunia... ante nosotros)
LOUIS LANGRÉE hace un excelentísimo trabajo, al frente de la ORQUESTA DEL SIGLO DE LAS LUCES, que, con sus instrumentos originales, aporta un incomparable toque de buen hacer y sabor mozartiano a este más que recomendable trabajo discografico.

Natalie Dessay is one of the finest coloratura sopranos of this generation. She recently went through vocal problems and appears to have weathered them well. Here, we see her technique applied to Mozart heroines. The result is quite pleasing.

The notes indicate, quite properly, that we end up overcategorizing singers today. The notes go on to say (Page 8): "Giving priority to the suppleness of a beautiful vocal line and the arch of the melody, Mozart resists superfluous effects, misplaced ornamentation and the importunate demands of the highest register. Beyond mere execution, he demands aesthetic, psychological, and theatrical truth."

Natalie Dessay sings wonderfully throughout this CD. Let's take a look at a handful of the cuts to get a sense of her art. From "The Magic Flute," there are three pieces. I'll mention two of these. "Der halle Rache" is a treacherous piece, with staccato high notes. Dessay's voice is in fine order here. This version compares nicely with earlier ones ion my collection of her works. The staccato high notes are hit right on. This is a challenging piece, but when sung well it excites. And Dessay excites here.

Later, "O zittre Nicht" from the same opera. Another well sung piece. Dessay, again, is in good voice. She has long been associated with the role of the Queen of the Night, and one can well understand why listening to her rendition here. She displays good staccato notes with a fine culminating high note clearly hit.

I had never heard anyone sing "Tiger! Wetze nur die Klauen." The intensity of her singing is palpable at the outset in this piece. Dessay's voice is very smooth and rich here; she is in full control of the music. Most enjoyable.

Another new work to my ears. . . . "Dal tuo gentil sembiante" from Ascanio in Alba. Sweetly sung, so my notes indicate. She shows great vocal agility here, with good coloratura technique-- staccato notes, acceptable trills, and other embellishments. I enjoyed becoming introduced to this work.

Thus, in the final analysis, a fine CD, featuring Natalie Dessay's art with the work of Mozart. Brava!

Any musician will tell you that Mozart is difficult. The central difficulty with Mozart is that it must sound effortless. It must float, like gossamer. There is always a clear forward momentum, even in the slower, lyrical passages. The challenge is that technical difficulties abound in Mozart's music. These difficulties extend beyond the obviously difficult 16th notes and high notes. There are also ensemble challenges, both in terms of rythm and relative pitches. The singer must tune to sometimes fickle instruments, such as flute or oboe. Thus, it takes a lot of confidence and even more game to release a compilation CD of just Mozart arias. Dessay has the confidence and game to release such a CD.

Dessay leads off with guns a-blazin' by singing "Der Holle Rache" from "The Magic Flute". This is a punishing aria with high F's and coloratura passages that most women can't sing at all. I agree with some of the reviews that noticed some minor intonation issues, but there are more criteria by which to judge this performance than the 3 or 4 pitchy notes. Her intention is very strong, and it could be her intensity that causes her to lose some support. Her support is extraordinary in the coloratura passages. Natalie follows these fireworks with Pamina's famous aria, the poignant "Ach ich fuls". Some have said that Natalie's voice is too light for Pamina. This may be true in our age of obsessive pigeon-holing of voices, but she sings it beautifully. Natalie returns to the Queen of the Night character by closing this CD with "O zittre nicht, mein lieber Sohn!". It is very well done.

I really enjoyed some of the lesser known arias on this CD. The arias from "Zaide" were gorgeous, and the aria from "Ascanio in Alba" was vintage Mozart.

Perhaps the best arias on the CD were from "Abduction from the Seraglio", "Welcher Wechsel..Traurigkeit" and "Martern aller Arten".

Natalie collaborates with the sensitive Orchestra of the Age of Enlightenment under Louis Langree. This is a great pick for her small voice. In addition, the sound engineering is perfect, and a real tribute to the staff of Virgin Classics. All told, this is a wonderful collection that will give you over an hour of beautiful Mozart arias that are well sung and played.

Highly recommended.

I can't find the words to describe my inner feelings as I listened to Natalie Dessay's recent recording, "Mozart Heroines". Like wow! Such voice control! This gal can really sing! It's all the more astounding when I realize that she didn't start singing seriously until the age of 20. My only regret about this record is that there was not time to include Elisa's aria, "Alla selva, al prato" from the opera "Il Re Pastore". I first got to know Ms. Dessay's singing about four years ago, when I bought an earlier recording of Mozart concert arias on the EMI label (5 55386 2). This was bought on pure spec, because of the selection of arias it contained, especially K.316. I knew nothing about the artist. On first listening, I found the voice a little sharp in places but it wasn't long before I became totally absorbed in the artistry. It quickly became one of my favourite records. I can seriously recommend these two recordings to anyone interested in a magnificent coloratura roller-coaster ride. Natalie, si jamais vous venez chanter a Toronto, je serai la pour vous crier des "bravas".

I have become an admirer of Dessay through her Vocalises and French Arias albums. Her earlier disc of Mozart Concert arias revealed her as a Mozartian of note. I enjoy her discs as they include old warhorses interspersed with unknown items. In this disc I am less impressed, as she tackles repertoire sung by many other sopranos, and despite my admiration for her agility and range, I was left feeling that, in most of the arias on this particular disc, better versions were to be found elsewhere.

Queen of the night: Superb, if you like the slight edge of hysteria in the voice on the long notes. Pamina's aria: sounds affeected - go for Bonney, Hendricks, any lyrical voice. Lucio Silla: fast and exciting,but with Gruberova it becomes drama. Zaide: Doesn't beat Kiri te Kanawa's famous recording. Ascanio in Alba: very well done, though Auger has a tad more poise. The Serail arias other reviewers here have loved, but I beg to differ. She feels too light for role and pecks at the notes in Marten aller Arten. It makes her sound like a soubrette trying to sing lyric roles. Idomeneo sweetly sung, but does not beat Hendricks.

My main concern is the twee cleverness of the orchestra: try the finale of the Queen's first aria. The orchestra pulls back pompously and she pushes on ahead. If they are making some great artistic dramatic statement I fail to comprehend. It simply sounds as if the orchestra drags and she rushes.

A wonderful singer, in a very good disc. If this is your fist Mozart arias disc, though, look around a bit. Gruberova, Kiri te Kanawa and Bonney are all good places to start.