Vesselina Kasarova - A Portrait

George Frideric Handel (Artist), Christoph Willibald Gluck (Artist), Wolfgang Amadeus Mozart (Artist), Gioachino Rossini (Artist), Gaetano Donizetti (Artist), Vincenzo Bellini (Artist), Munich Radio Orchestra (Artist), Friedrich Haider (Artist), Vesselina Kasarova (Artist), Bavarian Radio Chorus (Artist), Tim Hennis (Artist), Isolde Mitternacht-Geibendorfer (Artist), Barbara Muller (Artist), Dankwart Siegele (Artist), Leonid Savitzky (Artist), Andreas Schulist (Artist)

Product Details

• Audio CD (November 12, 1996)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Sony Classics
• ASIN: B000003G3T
• In-Print Editions: MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #158,067 in Music (See Bestsellers in Music)

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  #4 in	Music > Opera & Vocal > Divas > Kasarova, Vesselina
  #20 in	Music > Opera & Vocal > Voices > Sopranos
  #22 in	Music > Classical > Historical Periods > Baroque (c.1600-1750) > Vocal & Song

Editorial Reviews

Amazon.com

The title "A Portrait" would suggest some sort of a cohesive look at this talented Bulgarian mezzo-soprano. But she is so astonishingly versatile, one wonders if there are at least two singers at work here. Her more athletic coloratura moments in the Rossini and Donizetti arias would suggest some sort of slavic Cecila Bartoli while her more soulful, lyrical moments in Gluck's Orfeo would suggest a heavier voice like Kathleen Ferrier. Could it be that she has it all--or at least as much as one could hope for in a single singer? --David Patrick Stearns

Customer Reviews

Most Helpful Customer Reviews

15 of 16 people found the following review helpful:

4.0 out of 5 stars Very unique and enjoyable voice, July 21, 2000

By	Kate (Maine, United States) - See all my reviews

Although Kasarova still has a bit to learn about singing, she is clearly on her way to becoming a great interpreter of the mezzo-soprano repertoire. There were a few pieces that I certainly do not long to hear repeated, but for the most part, the album is enjoyable.

My favourite selections were the coloratura pieces. "Una voce poco fa" has been sung to DEATH already, but Kasarova adds something new to it, especially in the lower register. It's nice to hear this piece performed by a true mezzo. The "Voi che sapete" was also very nicely done (it fell wonderfully in her passagio), although "Batti, batti" was not memorable (it felt somewhat monotonous---maybe because Kasarova was beginning to tire with the high tessitura). I especially enjoyed her rendition of O mio Fernando---I would like to hear her sing "Stride la Vampa" (Trovatore) in the future.

The only piece that really didn't thrill me was the Orfeo "Che faro." This piece was written for a good rich contralto, and Kasarova's tone simply wasn't appropriate to carry this aria affectively (she really sounds like she's straining the low notes, which can't really be disguised because they occur so many times).

I listen to Kasarova whenever I'm bored with Larmore or Bartoli. She has a certain husky tendency in her voice that is extremely desirable but not present in the voices of these other two divas. This is a wonderful album to introduce you to her unique voice!

5 of 5 people found the following review helpful:

5.0 out of 5 stars Kasarova Is the Current "Gold Standard" of Living Mezzos, November 13, 2003

By	David R. Eastwood (Long Island, NY) - See all my reviews (REAL NAME)

When this CD was first released, I happened to hear the track with "Una voce poco fa" played on a classical-music radio station. For over 50 years I had been a devoted "fan" of instrumental classical music, but, in just 3 minutes, Kasarova's performance expanded and altered my mind and heart. When I attempted to purchase an audio tape of her singing, I discovered none was for sale anywhere. My solution? Buy the CD--and THEN buy a CD player. Five or six years later, I own over 1800 CDs, about 2/3 of them operatic music. My preferences are now mainly for bel canto singers who are mezzos or contraltos. Rossini, Handel, and Bellini are my favorite composers. Why? Chiefly because of my chance encounter with Ms. Kasarova's wonderfully flexible, rich, warm voice. She caused me to get season tickets to the Met for the past four years (where I was finally able to hear/see her in THE BARBER OF SEVILLE--the best of the four performances I've attended). For purposes of easy comparison, I have "imported" tracks from this CD onto my computer's hard drive along with those of several dozen other mezzos singing the same arias. After many hours of back-to-back listening, in almost all cases I greatly prefer the versions of Kasarova. This CD is an excellent "starter" purchase for any beginners who wish to explore what opera has to offer. For "experienced" listeners, it is a must-have!

3 of 3 people found the following review helpful:

4.0 out of 5 stars Kasarova and the Amazing Multi-Colored Dream Voice, April 5, 2006

By	Smorg (San Diego, CA, USA) - See all my reviews

This was my introduction to Vesselina Kasarova CD. I first saw her in a clip of Il Barbiere di Siviglia (singing Una voce poco fa) on Classic Arts Showcase program one night and was amazed at how beautifully she sings the coloratura piece while doing complicated acting manuevers on stage.

The really great thing about Kasarova is how she communicates the essence of each aria with her voice. She doesn't sing 'Konzertzant'. Her instrument, for some reason, doesn't sound as big on recording as it does live (where it is quite plenty big, very lusterous and agile), and she uses many vocal colors to bring out the different character of her roles (a lot of time in the same aria to show the change of emotion). It is unconventional, but it works really well in the story telling.

Her coloratura is amazing. It is fast and fluidly effortless sounding... and she sings all the notes!! A true Rossinian mezzo with great extension at the top. She also incorporates the ornaments into the music so well it gives the piece a character rather than standing out at odd with the music. Kasarova is so subtle in her interpretations that each time I replay an aria I catch some nuances I missed before.

Her 'Che faro senza Euridice' may sound 'simple' on the first try, but it is quite understatedly wistful and gives the picture of a devastatingly drained Orfeo who has lost all hope. It gets better the more closely you listen to it. Her 'Voi che sapete' is of a Cherubino who is young and enthusiastically in love.

She uses wider vibrato in her bel canto pieces which fit the music well. Her Rosina has a split personality demarcated at 'ma', a note that turns an perky love-struck young thing into a potentially vengeful witch in such dramatic way that I can visualize her eyes narrowing and her fangs growing just by hearing it. Her renditions of 'o mio Fernando' and 'Se Romeo t'uccise un figlio' are unforgetable. Kasarova gives you all she has and it is wonderful.