Customer Reviews

Verdi Heroines

5 star:		(19)
4 star:		(4)
3 star:		(5)
2 star:		(5)
1 star:		(7)

 

 

Like others who have reviewed this disc, I was initially skeptical of Angela Gheorghiu's plans to add the heavier Verdi roles to her repertory. I thought that the soprano roles in Otello, Don Carlo, and Simon Boccanegra, and possibly I Vespri Siciliani would be ideal for her, with the Trovatore serving as a stretch. Certainly her contributions to these roles in the 'Verdi Per Due' disc she recorded with her husband Roberto Alagna were magnificent. But I also thought that tackling Aida and La Forza del Destino were probably not such good ideas. Then I heard her perform 'Pace, pace mio Dio' at the 1999 Richard Tucker Gala. Her voice, though leaner than the likes of traditional Verdi soprano (i.e Milanov, Price and Ponselle), is hardly small, and she had no trouble filling the hall despite very singer-unfriendly acoustics. Indeed, her final cry of 'Maledizione!' soared over the orchestra easily. More importantly, she did a beautiful messa di voce on the first 'Pace' and the three 'Fatalita!'cries expressed entirely different feelings. With that, I was willing to approach this disc with a more open mind.

I should have known better from the beginning. Anytime I think that something is beyond this woman's capacity, she ALWAYS proves me wrong.

Whatever reservations I may have had about her choice of repertory, I would never deny that Gheorghiu is probably the greatest soprano in the world now-her only real competition is Renee Fleming. I am a collector of opera recordings with some 60 other sopranos in my collection, so this isn't something I would say lightly. To badly paraphrase Lord Byron, all that's best of dark and bright meet in her aspect and her voice. Listening to her sing is like looking at a nebula through a telescope and seeing the glowing of new stars cradled in the interstellar dust that gave them birth. Her voice has power in addition to sweetness, and most important of all, it has soul.

Gheorghiu's technique and musicianship are superb. 'Merce, dillette amiche' and 'Caro nome' show excellent coloratura combined with a beautiful trill. More important is her superb sense of line, her beautiful control of dynamics (all the way down to heavenly pianissimi), her intelligence, her instinctively right feelings regarding musical expression. I have heard many recent sopranos who sing these roles who have little if any of these qualities, even if they have more of what would be considered the 'right voice' (i.e huge, heavy, and loud) than Gheorghiu. Certainly very few of these sopranos know the meaning of the words 'vocal acting'.

With Gheorghiu, like with Callas, it is the music first and foremost which dictates her emotions. As many others have noted, she finds the right individual voice and personality for every character and situation, and not only that, she makes each individual word mean something. This is perfectly illustrated in what is undoubtedly the triumph of this disc: the scene from Il Trovatore. Aided by the equally committed and passionate Inez of mezzo-soprano Tiziana Tramonti, Gheorghiu lets the drama just build and build. She brings out all of Leonora's longing and ecstasy, indeed she is almost giddy in the cabaletta. Particularly masterful touches are the frission in her voice at the reprise of 'Al cor' and her heroic and defiant cry of 'Obliarlo!' when Inez suggests forgetting Manrico. Her Elisabetta di Valois isn't weary, introspective and resigned to her fate the way most other sopranos interpret it, but someone exploding with all the passion and sorrow that she had to keep hidden until this moment. And I think that a Gheorghiu Desdemona on stage will be something really special- here she is terrified, vulnerable, and very deeply human, unlike Renee Fleming, whose version is equally moving and magnificent, but more the totally innocent angel descended from heaven. Again, Gheorghiu is supported by a fine mezzo, Laura Polverelli as Emilia.

As for the heaviest roles, from Un Ballo in Maschera, Forza del Destino and Aida, I am now convinced that she should record them in their entirety, if not sing them on stage (but only very small theatres). She is very intelligent, very organized, and will proceed very slowly and carefully. Her next staged Verdi is Luisa Miller (not included on this disc because it is too difficult to take out of context of the entire opera) and she says she will not consider Trovatore for another 5 years or so. There will be undoubtedly those who think her voice is a bit too mature for Gilda, but those who had no trouble with Callas or Milanov in the role will find much to admire. However, I think 'Tutte le feste al tempio' would have suited her better.

Riccardo Chailly has a wonderful rapport with Gheorghiu, and brings out luxurious sounds from the young and enthusiastic orchestra, who I definitely want to hear more from. His tempi are a trifle fast, which add to the urgency and drama, but they hamper expression slightly in a few places-in 'Tu che le vanita' Gheorghiu is prevented from making the pianissimo phrase 's'ancor si piange in cielo' spin out quite as much as it should. However, there is wonderful playing throughout, particularly in the prelude to this aria and the one from Simon Boccanegra. The solo players are also excellent.

Other minor, even picky complaints - while Gheorghiu's formerly mushy diction has vastly improved, there are a few lapses - 'Ah, si', becomes 'Oh, si' and a few 'eh' sounds become 'ee'. Also, it would have been really nice if there had been a couple of extra tracking points in the longer scenes, particularly Otello. And I could have lived without the dull, gray cover...

Still, Gheorghiu is a rarity, a singer of true individuality and genius. Think of how much she has already accomplished, and she isn't even 35 yet! May she continue to astonish us.

As I listened to this collection of arias I found myself thinking on Leontyne Price, and Renata Tebaldi. Gheorghiu brought back rememberances of their perfomances of these pieces. I don't believe that Gheorghiu is a true Spinto soprano like Price, but the richness in her voice leads one to believe she is more than just a Lyric Soprano. Like Tebaldi who also started her carrer singing the basic lyric repetoire, and I'm happy to hear her voice develop into a larger Full Lyric sound. While I don't think she would make the best Aida today, I hear in her voice that she can mature into this role, as Tebaldi did. I would welcome any Verdi roles she decides to take on. From the recorded evidence on this disc I believe that "Il Trovatore, and Don Carlo should be her next Verdi operas, I Vespri would also be welcome. I'm glad that in Gheorghiu we have another soprano dedicated to Verdi (and who can pull it off), now if we can just get a tenor whos up to it, and can take the mantle from Domingo.

Angela Gheorghiu possesses one of the most exquisite operatic voices of today. Her unique dusky to sugary timbre represents one of the most individual as well as most breathtakingly beautiful of sopranos. Not only does she have a prolific voice, but also an electrifying stage presence. Being a conservatory-bound opera major (and a lyric soprano) myself, I am a big fan of Angela and anticipated the release of this disc very much. At first I was somewhat skeptical of a full lyric soprano such as Angela Gheorghiu attempting such heavyweight roles.However,when I listened to this CD, I was pleasantly surprised. Ms. Gheorghiu handles the massive challenge of aquiring the ultimate in Verdian style extremely well. While her voice may not possess the heft that previous exponents of this repertoire have traditionally had; she certainly possesses a sensual duskiness which transends Verdi's superhuman phrases quite effectively. And the sheer drama, the passion is there. Angela brings to life each individual heroine and makes them truly feel like a living person. While each portrayal is unique and special, I feel the strongest tracks on the CD are "Merce, Dilette Amiche" I VESPRI SICILIANI, "Che Piu T'arresti...Tacea la Notte Placida....Di Tale Amor" IL TROVATORE, and "Pace, Pace Mio Dio!" LA FORZA DEL DESTINO, (the piece which she performed at the Tucker gala) . These are most prominently reminiscent of her Violetta-----rich in flawless techinal brilliance and exceptional passionate in complete genius of interpretation. I look for here Leonora of IL TROVATORE, particularly, to be the next role which she makes her own and takes the world by storm with. A truly remarkable and surprising performance. We must not be too quick to catorgorize this exceptional artist before we witness her astouding versatility and artistry. Afterall, look what Maria Callas, a heavy dramatic did for the role of Lucia. And did not not Verdi declare the light coloratura of Adelina Patti to be one of his favorite Aidas? One must not limit the possibilities of what an accomplished artist can bring to a masterpiece. An amazing recording----you are in for a treat.

This splendid new recital disc, along with Gheorghiu's recent complete recordings of LA BOHEME and WERTHER, reveal that she possesses one of the most ravishingly beautiful, expressive, and versatile soprano voices in existence today. Though some may insist that she is a lyric soprano, who should not be treading into the demanding roles of Verdi's middle and later periods, Gheorghiu easily proves that she is capable of rising to the challenge, presenting arias that are technically secure and full of interpretive insight. In the selections from I VESPRI SICILIANI, RIGOLETTO, and IL TROVATORE, her trills, adept coloratura, secure top, and lovely rounded tone evoke associations with Sutherland. Her high C in "O patria mia", a problem spot for many sopranos, is full and gorgeous, without any hint of strain. In "Pace, pace," she shows that there are significant reserves of power behind her lovely voice. Each character is individualized, illuminated by careful attention to text.

It is no longer necessary to lament the absence of Verdian sopranos. With Angela Gheorghiu, Deborah Voigt, Maria Guleghina, and Sondra Radvanovsky performing today, there are exceptional voices capable of singing Verdi's demanding female roles. Gheorghiu is an intelligent artist -- she won't sing Aida right away in the opera house and risk damaging her voice; but she would be a splendid Desedmona, Gilda, or the Trovatore Leonora right now. Let's hope that impresarios like Joe Volpe, at the Met, take notice and offer her some meaty roles beyond just Liu and Mimi. I highly recommend this disc -- along with Fleming and Bartoli, Gheorghiu is undoubtedly one of the great artists of our time.

This recital disc won a Gramophone Award for Best Recital disc. Gramophone Magazine gives it the highest accolade possible - 3 stars. Gramophone is not always right. But it is seldom far away from the 'truth'. In this case, it is spot on. This is a glorious disc - alive from the first note to the last. Conventional wisdom tells us that Gheorghiu is not a full spinto. But let's hear what Maria Callas had to say, "I'm not a dramatic soprano or a lyric soprano or a coloratura soprano. I'm a soprano!!".

Christa Ludwig is a mezzo. But she sang many of the most difficult soprano roles with unsurpassed distinction. Janowitz is a full lyric but she sang Leonore in Fidelio!!

What is wrong with these people? Who cares about categorization. Gheorghiu gives glorious performances here that is seldom captured on record. And if the recording balance is right in the studio, who cares about being "loud"? I've heard 'live' recordings of Birgit Nilsson where Nilsson sounded like a tweety bird with no power.

Conclusion: This is a magnificent achievement. And it is worth buying not just for Gheorghiu but unusually for a recital disc, it is worth buying for Chailly's accompaniment which is simply outstanding. It is full of insights that you DON'T get anywhere else, no not even in full recordings. Chailly is a conductor to watch. He still has many years ahead.

I have Farrell's recording - she may have a large voice but she doesn't sing with as much understanding as Gheorghiu. Gheorghiu has a better Verdian sense and Chailly is the other star - Chailly's conducting is amazingly insightful. He is an underrated Verdian. Coming back to Gheorghiu voice, it may not be as large as Farrell's but it is certainly not small. I think with time, she will develop a more powerful voice. In any case, in this recording, it doesn't hurt at all - Gheorghiu sounds magnificent.

This is in many ways an enthralling recital. Angela Gheorghiu possesses one of the most beautiful soprano voices of today, coupled with a rare ability, given only to a few, to think herself into the characters she portrays. She can hurl herself into the particular emotions of each heroine, for instance, the dignified sorrow of Elisabeth di Valois, the joy of Elena, the fatalism of Leonora di Vargas, the foreboding of Desdemona, the extreme desperation of the Ballo Amelia, etc. This ability is abetted by her wide tonal palette and verbal acuteness. One might question her credentials as a lirico-spinto and point out inadequacies here and there, but overall,her intensity of utterances, dramatic instincts and insights transcend whatever considerations about her voice. One might also compare her with greats from the past like Callas, yet this is superfluous as she is totally her own being. Angela is fortunate to have Ricardo Chailly's superb rapport. Chailly is in one spirit with his singer and brings out many delightful orchestral details that are often glossed over. The disc may not earn unanimous praise and there are indeed reservations expressed in one way or another. However, It is really a recital that demands to be heard....if you miss it, you would miss in turn one of the most riveting Verdi interpretations ever caught on records.

This is the most distinguished recital of Verdi arias since Gheorgiu's compatriot, Julia Varady, recorded a couple of similar discs back in the mid-nineties. The two Romanian sopranos share the Callas-like ability to evoke a distinct and individual character within the first few bars of an aria--be it Gilda, Aida, Elisabetta, either of the Leonoras, whomever. This is an extraordinary voice in its ravishing prime--nothing appears to be beyond it, although to quibble, it is perhaps a shade too big for Gilda--one that understands and makes full use of all its resources. But what brings intense joy and no less wonder isn't simply the lovely quality of the sound, the effortless accomplishment of the technique, and the unfailing sureness of the style, rather it's the perfect combination of flawless musical and dramatic instincts. As with Callas, when one is listening to an aria, all comparisons drop aside because for the moment it seems as though the singer--the character--is addressing one directly and personally. It's not some blowsy vocalist hurling notes at you, it's a woman begging to see her only child once again, a young girl rapturously greeting the dawn, a distraught wife preparing for death, a princess longing for her native land. Everything is marvelously specific, completely felt, achieved without apparent fuss or self-consciousness--and even the most familiar aria, one we've all heard a thousand times before, is made thrillingly new and spine-tinglingly compelling again. As for Chailly, he deserves the ultimate compliment--he matches his luminous soloist in interpretive insights and technical execution. An absolutely indispensible disc for anyone who cares a fig about great Verdi singing.

The Amazon reviewer Thomas May is right. Ignore the bad reviews.

This CD clearly gives a taste of things to come. Gheorghiu made her name as a Verdi singer and it is surely as such that she will find her niche in the future. Although her Mimi, Liu and Adina are well known and loved, it is her Violetta that really stands out as a special performance and is rightly captured on a full recording. The selection here features most of the big numbers from Verdi's other operas and most of them suit her voice's dark, velvety smoothness and characteristic brilliance above the stave very well indeed. Heavy Verdi requires a robust sound but unlike many of the spinto voices that venture into this repertoire, Gheorghiu seems incapable of sounding shrill even when stretched to the limit. Although sometimes she is pushed sharp under pressure, more often she makes a thrillingly pure sound. She also has - and, let us pray - is not in danger of losing - a genuine and beautiful pianissimo which makes her Aida a real treat.

Interestingly, the recital begins with the Bolero from I Vespri Siciliani for which she has the requisite coloratura brilliance (though this may not be a part she ever essays on stage - which is no great loss). She sounds a mite mature for Gilda and the voice is bottom heavy, but her Trovatore Leonora and Boccanegra Amelia are spot on. It surely cannot be long before she makes these roles her own on the stage. Aida is clearly waiting in the wings somewhere down the line, as is Forza (stunning breath control in the final phrase!), even Amelia in Ballo in Maschera. Perhaps the part to which she is best suited is Desdemona - her rendition of the Act 4 scena may not have the angelic radiance of a Te Kanawa or a Price, but the sense of sorrow she captures is very powerful indeed.

Accompaniments are superb throughout - Chailly conducts up a storm, and the recording is of high quality though there may be a little too much echo for some tastes. Nonetheless, this is highly recommendable and my only hope is that Gheorghiu doesn't force her husband to join her in repertory that lies comfortably within her dramatic range but beyond his own, rather lighter, fach.