Customer Reviews

Rossini: Arias for Mezzo-Soprano

5 star:		(10)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

There are precious few opportunities to hear this fantastic singer either live or on recording, which is a pity given her unique sound and impeccably-schooled voice.

One of the hallmarks of a great singer is a unique vocal quality. Such is true of Madame Podles. With the top voice of a dramatic soprano, a middle that sometimes resembles a counter-tenor sound, and a bottom voice that is almost baritonal, her sound may recall another singer's voice here and there, but ultimately, it is one-of-a-kind.

Ms. Podles has the perfect vocal qualities necessary to sing Rossini -- an incredible range, enormous flexibility, and subtle vocal coloration. On top of that, she has a unique vocal color and phrases beautifully.

The only possible quibble I can find with this recording is that a couple of the characterizations are a bit on the heavy side -- particularly Rosina. Although the notes are in place (and very impressive) and the coloratura impeccable, this Rosina sounds a bit older, perhaps more serious, than Rossini seems to require. In a later reading of the same aria, in a live 1998 concert in Poland (Rossini Gala recorded on DUX), her Rosina bubbles with youthful energy.

In general, that recording shows her in more brilliant voice, though both discs are impressive. Although several arias are common to the two, each has arias that the other lacks. Both are welcome additions to any vocal library, though if only one is possible, I'd recommend the 1998 recording over this one.

When looking for an aria recital disc of Rossini mezzo/contralto recordings, I always figured that my choices were limited to Marilyn Horne and Cecilia Bartoli. However, the brilliant contralto Ewa Podles could drive them all out of work. Never letting her coloratura lag behind the orchestra, or rush ahead, Podles's big, operatic voice puts the competition to shame. I must agree with the other reviewers in naming "Non temer" as the brightest jewel on this album. I have heard others sing this aria, including Horne and Jennifer Larmore, and, although both the other versions have merit (Larmore in particular has some of the best mezzo-soprano high notes I've ever heard although her coloratura is usually just a hair behind), Podles exhilerating performance tops the list.

I also agree with another reviewer who mentioned Russian mezzo-soprano Olga Borodina as another great non-soprano. I wish she would record a Rossini album, after hearing her "Nacqui all' affano."

What a voice! Ewa Podles appears to be the most under-appreciated and under-recorded artist of today. Her true contralto voice is immense: powerful, versatile and expressive; the only similarity that comes to mind is Tamara Sinyavskaya. Yet Podles is also equally comfortable in very low and very high registers (where most mezzos, by the way, often get squeaky and shallow). Instead of re-releasing old Horne recordings, I wish the big labels would turn their "divine attention" to this magnificent interpreter. Bartoli got enough laurels for ten, Podles did not get any. Is it fair? Just listen to this album and judge for yourself. The critics would have you believe that there is no life after Horne. The truth is that Borodina or Podles sound better on the days when they have colds. The "golden age" of opera is now, enjoy it. On this album, the sound is good (for Naxos) and the price is a steal. Naxos even included texts and translations, but, alas, did not include a picture of Ewa. A showstopping aria -- "Cruda Sorte!" will leave you breathless. Happy listening!

How many times I have seen this CD on the record stores without been interested in buying it! But when I heard the wonderful Ewa Podles in the complete TANCREDI with Naxos, I knew that this recital will not be dissapointing. Podles is a real contralto, with a dark huge voice, with solid low tones, and a stunning range and flexibility that takes her up to a high C. These qualities make her an ideal singer for the music of Rossini. This recital takes the listener to a fascinating display of vocal fireworks, singing that has also character and personality. Probably her voice sounds too mature for characters like Rosina or Cenerentola, but the exactness of her scales and roulades makes the listener compensate for the lack of freshness. But the voice fits perfectly for Isabella and the pants roles. Among the best numbers is the aria from Semiramide, Di tanti palpiti from Tancredi (that sounds even better than her interpretation of the whole opera, her final cadenza more spectacular, with her final middle F ringing with force until the last bar of the orchestral postlude). But the crowning glory of the recording is Non temer: d'un basso affetto. This is an incredible tour de force going from low, chesty G's and A's up to brilliant high B's, with accurate vocal jumps from the lowest to the highest registers. The orchestra and chorus are adequate, but they are not a distraction to Podles' singing. And if we add the factor of the incredible low price, there is no reason for lovers of great singing to have this CD. I hope to hear much more recordings of Ms Podles very soon!

This is an amazing, surprising and refreshing way of looking/hearing Rossini. After years of hearing most mezzo-sopran and alt roles conquered just by force of numbers by counter-tenors and Cecilia Bartoli (don't get me wrong,she's really good, but have you ever asked yourself why she doesn't perform usually on big stages but on small ones or on studios? Her voice, though wonderful for coloratura, is small for a big audience), I have come to adore, simply adore, this polish singer. Her way of singing, her voice's colour, her strength and her ability to sing the most damned roles written for a low voice....including coloratura (just hear her in "Dovver, iustizia, amor..." from Handel's Ariodante) make her a wholesome alto. Which makes me hope for a better day for alto and mezzo-sopran voices. I must confess I don't like counter-tenors a bit, they sound too un-natural.

Para los fans de Rossini y de las voces con personalidad sera imprescindible comprar este soberbio recital de la contralto polaca EWA PODLES, que hace un amplio recorrido por las paginas mas celebres del repertorio de Rossini para su cuerda con unos resultados absolutamente sobresalientes, ya que posee una voz extraordinaria en todos los registros. Ademas, tanto la orquesta como el coro rinden a buen nivel al mando de un rossiniano como es el Maestro MORANDI, lo cual redondea un fantastico disco.
De compra obligada.

In the world of rare voices and trouser roles, Ewa Podles is quite possibly the MOST underappreciated singer in our generation. Her coloratura is near faultless, and her range of color and tone are something to be reckoned with. Having a range significantly larger than many low voices, she tends to create witty and daring cadenzas and ornaments that must make the golden singers of the past jealous. The only thing that kept this album from being a 5 is that, at times the sound quality is slightly less than perfection and that I prefer her baroque interpretations to the Rossini. Still an amazing album and an unbeatable price!

In the 1960's, the great and immortal Marilyn Horne began her astonishing operatic career with her ability to use her mezzo soprano voice in the execution of the most intricate coloratura of Rossini. She was, in a very real sense, like Callas and Sutherland, a "restorer" rather than an "innovator". Revivals of Rossini operas like "Semiramide", "Tancredi", "L'Italiana in Algeri", "Ermione", "L"Assedio di Corinto" returned to the operatic repertoire because Marilyn Horne could sing them. She even sang Jocasta in Stravinsky's "Oedipus Rex", as well as works of Handel, Donizetti, and Bellini.
Now comes Ewa Podles, whose voice is NOT a mezzo-soprano, but a real contralto with a technical ability to match Horne's. Podles' voice is a truly amazing instrument, one which can encompass the lowest "basement" notes of Verdi's Ulrica and Azucena, and can then enter the world of florid Rossini coloratura and deliver it with the precision of a machine gun. Virtually all of the items on this recording have been previously recorded (in the most spectacular fashion) by Marilyn Horne. Her versions of these pieces are cherished vocal documents. Podles, in a very real sense, is even more amazing in the sense that she is a real contralto, a voice all but extinct today. This Rossini disc deserves a place alongside of Horne's versions. Voices of this caliber are from another planet.

Podles is just phenomenal. Anyone who enjoys classical singing should own this CD. And at this price--what a steal!!!

Having heard much about this mezzo soprano I looked forward to hearing this CD. All the reports were true - this is a mega watt voice. Podles' voice is a big, rich, rangey, flexible instrument and she really tears into these Rossini showpieces. The heroic arias are the best (just listen to "Basso afetto" -- jaw dropping), the comic arias lack bite and charm (although they are well sung). The recorded sound isn't great -- much too reverbrant-- but it distracts little from Podles' fine singing.