Customer Reviews

Ruth Ann Swenson - Con Amore ~ Italian Opera Arias

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

 

 

I am a big fan of Ruth Ann Swenson. Of the sopranos on the circuit today, she is perhaps one of the most engaging, fresh and unpretentious of all. Her voice is unusually pure but with velvety undertones, and it's smooth from bottom to top. She's no nightingale - sometimes her E flats are encompassed with a real effort of will - but her technique is secure, her coloratura fluid and her singing never less than tasteful.

Why, then, did I feel slightly disappointed with this album? Perhaps it is because her coloratura does not dazzle as does Jo's or Dessay's? Certainly her singing in altissimo sounds a lot more careful than that of others - her "Sempre libera" never really takes off as it should (Rudel's tempo is far too slow)and her Bellini is never invested with the introspectiveness of a Caballe or - unfair comparison - a Callas. But there are some treasures on this disc too. Her "Caro Nome" is one of the most heart-rending I have heard, and her Puccini is surprisingly successful.I suppose her voice is a size too small to sing all of Manon Lescaut, but the aria goes well here. Mimi is a role she should bring into her repertoire (she has already recorded a stunning Musetta). Her Liu is touching, but her pianissimo B flat is sadly sharp.

Perhaps it is the lacklustre conducting that prevents this recital from really taking wing the way her Handel and Mozart disc does. But her very individual sincerity always comes through - a kind of touching fragility that really reaches out to the listener and wins sympathy for the heroines she portrays. A Swenson Desdemona is an enticing prospect, therefore, and more of her in the Baroque repertoire would be welcome. A pleasing, but not a stunning disc - and an important one for Swenson's many fans.

Ruth Ann Swenson really has quite a special voice. It is agile yet has such warmth to it, and is so voluptous. Every aria in this CD showcases that beauty, and as stated by the previous reviewer indicates to us that she is expanding her repitoire. I would love to hear her sing Mimi sometime in the future. The only detractor I have for Miss Swenson is that at times she seems somewhat detached. For this reason there are moments in her singing that tend to bore a bit. I felt this was apparent in her aria from La Sonnambula. But this ocasional lack of emotion is forgoten because her voice is just so rich, and beautiful. I enjoyed her portrayl of Violetta, and would welcome a full recording of the opera. ALthough I can't think of any suitable Alfredo to compliment her Violetta.

What do you expect from a classical music singer? Should she/he be a medium between you and the composer never one step in the front; or assure you of her/his presence throughout the music presenting an individual interpretation. This question dates back to Tebaldi/Callas argument and is least likely to come to an end. Swenson is a singer who hardly sacrifices the tonal quality or an even sound to give you more of the text. Her notes always gently focused and pure, never exceeding what she can naturally and most confidently provide. For that purpose, in this CD, she almost always borrows extra time from the music, ocassionally letting down the tempo (before a top forte or in her articulation of staccatos). This careful and almost vulnerable vocalisation does full justice to Gilda, Mimi and especially to Liu but not quite to Violetta (at least for the selected scene). For a better understanding of the difference, sample one of Callas's live recordings of 'Sempre Libera' from La Traviata (either Ghione or Giulini sets both from EMI) and contrast the cabaletta which is also available in the present disc. As usually observed in Callas interpretations, a fiery temperament is riding over the vocal precision and at the end the E flat is tossed under such a strain that it would be intolerable unless it is a Callas performance. Here in Swenson you are not likely to catch the fire which Callas made her own as her best Verdi performance, but instead a very healthy vibrato and a pure E flat which many singers have had to drop. An important cricism from a certain point of view may be that (though not enough for me to drop one of the five star I give) the programme consists of such popular arias that, to retreat them stipulates a new way of interpretation or otherwise this CD means more of the same. This criticism holds for some other singers of our age, say, Olga Borodina who is also criticised for her generalized interpretations (sample her similar treatment of Bel canto, in her duets album with Hvorostovsky. Though vocally a far different singer, she is as well slowly-focusing and generalized, but even and resourceful). But it always seems to me that vocally more resourceful a singer, less stylish she/he is. To quote Zinka Milanov: "When they speak of an opera singer as a good actor, there is always something missing in the voice". Swenson is one of the highly individual singers of our time, in the sense that she never pretends to be so.

This is a wonderful recital CD from one of today's leading coloratura sopranos, the brilliant Ruth Ann Swenson! Swenson might not have a high G like Natalie Dessay or the rapid vocal fireworks like Sumi Jo; what she has is a unique style of her own. The solid, confident and agile coloratura techniques, the runs and thrills plus the clear and pure golden voice are all here for your listing pleasure! One might find the pace some of the arias a bit slow, for example Sempre libera; but it is only to show cast the quality of her sound and the fearless ability to hit the pitch-perfect high note and hold it. I found her version of Ah! non giunge sung much more at ease in comparison to Renee Fleming's cut from her controversial album Bel Canto. Ruth's warm and calm interpretation of O mio babbino caro is just tremendous! You see, sometimes the hardest arias are the ones that's been done a million times, and I believe Ruth has given a new life to each of these aria, she sang them with full passion and love, what a joy! BRAVO SWENSON!!!!

This new recording of popular Italian arias performed by Ruth Ann Swenson is very beautiful. An 18-year old lyric coloratura soprano with high aspirations of someday becoming a great operatic performer, I am a big fan of Ruth Ann and anticipated this recording very much. I was very eager to experience her in new repertoire. Swenson's Puccini interpretations on this disc are lovely and senual with a silkiness of melodic line second to none. I especially enjoyed her passionate performance of the rarely performed "In quelle trine morbide." What a find! Her Verdi interpretations are more or less contraversial. While I admit her Violetta is certainly not the very best I have ever heard,(Angela Gheorghiu is Violetta) it is certainly well above average. Though not a natural for the dramatic aspect of Violetta, Swenson is certainly the bel canto coloratura absoluta of today! Her "Caro Nome" is the best I have ever heard. Many sopranos tend to plow through the aria making cuts, adding distasteful embellishments and overaccenting the high notes. However, Swenson leaves the aria alone and sings it with refreshing simplicity. Her pianissimo high notes are gorgeous! She very accurately catched the innocence and rapture of the lovestruck young Gilda--the way Verdi wanted you to hear it. In the bel canto repertory of Bellini and Donizetti, Ruth Ann Swenson continues to shine. I especially enjoyed the double aria from "La Sonumbula." With her unparalled coloratura, along with her sweetness and sensitivity, she is a natural for the role of Amina. Hearing her continue to triumph in this difficult and glorious repertoire, one's appetite is wetted to hear her perform these bel canto masterpieces in their entirety. ATTENTION EMI: "LUCIA DI LAMMERMOOR"! "I PURITANI"! "LA SONUMBULA"!

Swenson's new recital disc shows her off in thrilling form. The opening aria from "Turandot" is something really special. Swenon's final "Pieta," sung pianissimo, would melt even the coldest heart. The other Puccini selections are equally beautiful. "In quelle trine morbide," the seldom heard aria from "Manon Lescaut," is sung with an intimate sense of nostalgia. Swenson's Mimi (Si, mi chiamano Mimi) is delicate and effusive, the voice very sweet and warm.

All of the bel canto arias are impeccably sung, especially her plaintive "Prendi, prendi" which she follows with a short but dazzling cavatina.

Swenson's Violetta is a disappointment. "E strano" is wonderful but "Sempre libera" lacks energy and spontaneity. I had the sense that Swenson was being very careful. The rather plodding tempo did not help. Swenson, I think, has an ideal voice for Violetta but this recording of Violetta's big scena does not represent her best work. The high Eb at the end of the aria is very sharp in addition to some unmannerly scooping.

I actually greatly enjoyed Swenson's interpretation of Desdemona's "Ave Maria" from "Otello" but some might argue that the voice is too sunny-hued to portray the character effectively enough. I think that she has just enough of a plagent quality to her sound that she just might be able to perform the role onstage in a few more years and make it work. The other Verdi selection, "Caro nome" faired even better. The voice is kept light and fleet throughout, soaring sweetly over the staccati. The final cadenza is sung softly and accurately. Swenson brings Gilda's rapture and youthful vulnerability to life.

All in all, a very satisfying disc. I think that this lovely coloratura soprano is making a nice transition into some lyric repertoire while still keeping the freshness of her voice so that she can continue to perform much of the leggiero repertoire with ease.

This CD represents Ruth Ann Swenson's repertoire nicely. She has a rich voice. While her technique may not be as excellent as that of some other contemporaries such as Sumi Jo and Natalie Dessay, she surely ranks well in the coloratura repertoire. And, indeed, her version of Mimi's signature aria, "Si, mi chiamano Mimi," shows that she can handle a range of roles.

"Signore, ascolta" is well sung. Her rich voice fits this aria nicely. She also suggests good characterization in this instance (in some other cuts, there appears to be more emphasis on technique than characterization). From "La Traviata," we have "E strano. . .Sempre libera." This is smoothly sung. Swenson shows an agile voice. "Sempre libera" is taken at a nice pace. This is capably done, with a nice concluding high note.

From "La Sonnambula," there is the cabaletta, "Ah! Non giunge," one of the terrific coloratura pieces around. This is a nicely done version. Once more, Swenson shows off an agile voice. She hits notes pretty cleanly. In the repeat, she shows nice ornamentation. There are some good trills. Not all who essay this piece show satisfying trills.

Her version of "Si. Mi chiamano Mimi" was very interesting to me. In this "verismo" aria, she shows some nice characterization and sings this well. "Caro nome" from "Rigoletto" shows her technique off well. Nice trills, good agility.

To conclude, Ruth Ann Swenson is a capable singer in the coloratura repertoire; she can also handle roles outside this territory. This is a satisfying CD.

We recently (3/6/08) saw Ruth Ann Swenson in La Traviata at The Metropolitan Opera. She is an exemplary coloratura soprano.

This CD completed in year 2000 is a wonderful collection of her talent.

We wish her well and great health.

I have admired tremendously Ruth Ann Swenson from first hearing, her Mozart, her Rossini, beautiful accuracy, lightness - but this disc is a dud. Except for the admiration expressed for Swenson's 'Caro nome' (which sounds, frankly, like a bad student recital performance - of contemporaneous versions surely June Anderson's is supreme), I indeed agree with the previous review from Oxford. I would add that I detect definite vocal problems in Swenson's work on this disc. What is that extended and disagreeable flattening of the notes from top A-flat, A and up?? The voice starts to scratch faintly, and immediately one feels Swenson feeling it and fearing it. I actually started upon hearing it the first time- I thought Maria Callas had suddenly claimed Ruth Ann's voice in some mysterious embodiment! -over and over on this disc - most unfortunate! And Swenson's timorous, academic approach to nearly everything just grinds each aria to an emotional standstill. The problem is that I hear her showing me her singing, rather than simply singing. The antidote, for an attentive singer, is to listen to Caballe. Really listen.

Listening to this disc brought me to a moment's reflection with respect to a number of opera recordings of late. Over-miked and under-conceived, produced for an elusive pop crossover market (now you have to be beautiful to sing opera, too!)-- all that is fine, but maybe a bit of MUSICAL understanding gets lost in the process, I don't know. I know this disc disappoints me. I wish I had all my OLD Ruth Ann sentiments back, but I just had to go in close, didn't I..! A beautiful instrument, and even a unique and limpid style of singing, of itself cannot garner a genuinely profound understanding in a singer, or any musician, for that matter, nor is it a meaningful substitute. That profoundness comes of humility not in the sense of ego, but in an artist's relationship to his art. I believe the unique canon of operatic arias is profound enough to warrant that much attention from a singer interpreting that canon. I wish that for Swenson, who has I think authentic musical gifts and sensibilities, but you wont find it on this disc. Listen to Caballe's recording of 'Al dolce guidami', Ruth Ann Swenson. Everything to aspire to is contained in its brief ten minutes.

To be honest, this CD was a disappointment even though I am a fan of Ruth Ann Swenson. The usual criticism of her (that her singing is too bland and cold despite the warm tone of her voice) applies to this recording once again. Her Violetta was, well to put it politely, extremely boring. There is something definitely wrong when you are bored listening to "Estrano...Sempre libera". It was almost emotionless. Also, replacing the tenor part with a cello simply did not work for me. When you have Tebaldi's and Sutherland's singing in your ears, some of the selection just will not work for you.

Now that I have my criticism out of the way, I did enjoy her "Caro nome" and "Prendi, prendi" very much. I was feeling pretty bad, feeling that I wasted fifteen dollars, when I first listen to this CD until I got to "Caro nome." I have not found a recording of "Caro nome" that I liked except for Galli-Curci's until now. At least for me it was worth paying fifteen dollars.