Natalie Dessay – Mozart: Heroines (2001) (Repost)

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Natalie Dessay - Mozart: Heroines (2001) (Repost)

Natalie Dessay – Mozart: Heroines (2001)
EAC | FLAC (tracks+.cue, log) | Covers Included | 66:30 | 274 MB
Genre: Classical, Opera, Vocal | Label: Virgin Classics | Catalog: 7243545447

The glamorous young French coloratura stunned everyone at the EMI Gala at Glyndebourne in 1997 with a dazzling rendition of Cunegonde’s ‘Glitter and be gay’ from Bernstein’s Candide: it was an unexpected choice but Dessay delivered it with such wit, needle-point precision and sheer insouciance that she won all hearts. Why she has yet to appear in either a Glyndebourne or Covent Garden production – though debuts are planned in both theatres for 2002 – is one of the great mysteries of British operatic life, for Dessay, as her EMI album of French operatic arias (5/97) amply demonstrated, is an acclaimed star in Vienna, Salzburg, the New York Met and, of course, the French capital, where she is something close to a cult figure.
A Mozart album from this delightful singer was obviously overdue, for Dessay has cornered the market in the world’s poshest operatic addresses – except Covent Garden and Glyndebourne, of course – as the Queen of Night, whose two arias frame this recital programme. She can be heard in the role complete in William Christie’s 1996 recording of Die Zauberflote for Erato, whose ‘kind permission’ has been sought and acknowledged by Virgin for their re-recording of the Queen’s entrance scena and Vengeance aria. Aided by Louis Langree’s marginally faster tempos, Dessay’s ‘star-blazing’ accounts of these famous show-stoppers sound even more vehement than before – the angry staccatos of ‘Der Holle Rache’ spat out with blinding accuracy and the in altissimo Fs effortlessly, cleanly attained. Unfortunately, the aria’s impact is somewhat dulled by coming at the beginning, rather than at the end, of the recorded sequence. The microphone also catches a slight hardening of tone, bordering on shrillness, which is largely absent from the rest of her singing here.
Dessay’s light, girlish timbre might not immediately suggest regal imperiousness, but she brings real depth of feeling to ‘Zum Leiden bin ich auserkoren’ and its magnificent recitative ‘O zittre nicht’ on the concluding track. Between these mainstay arias of what the Germans call her Parade-Rolle, she selects an enterprising mix of the familiar – a delicate, fragile, touching ‘Ach, ich fuhl’s’ suggesting that she may soon hanker after the role of the Queen’s daughter, Pamina – and the virtually unknown – the fawn’s charming but virtuosic aria, ‘Dal tuo gentil sembiante’ from Ascanio in Alba (the festa teatrale written for the wedding of the Archduke Ferdinand to Maria Beatrice of Modena, in Milan, 1771). The instrumental quality of her florid technique is put to marvellous use here, as it is in Giunia’s great moment of truth in Act 2 of Lucio Silla, ‘Ah se il crudel periglio’. Perhaps in the theatre one would crave a richer-sounding voice, but Dessay colours her tone so effectively that the aria touches all the right emotional spots.
The same is true of Konstanze’s back-to-back vocal ordeals from Act 2 of Die Entfuhrung aus dem Serail: ‘Traurigkeit’ is wonderfully expressive, and even though I prefer a grander sound for this role – Dessay is surely one of nature’s Blondchens – her technique and musicianship are simply staggering in ‘Martern aller Artern’; she gives us the concertante aria in full, opening up the cuts Mozart himself made when he realised he had sacrificed the drama to the agile throat of Caterina Cavalieri.
It’s intelligent programming to give us two of the arias Mozart wrote for his prototype Konstanze in his unfinished seraglio opera now known by the name of its heroine, Zaide. The gorgeous ‘Ruhe sanft’ has become a popular favourite, largely thanks to Lucia Popp’s wonderful Decca recording with Istvan Kertesz in the early 1970s (2/73). Dessay’s timbre lacks the lamented Czech soprano’s creaminess and warmth, but she is so musical and phrases the long, rapturous lines of this celebrated number so exquisitely that Mozartians will be glad of a modern alternative. For contrast, she gives us one of Zaide’s less frequently heard solos, the defiant ‘Tiger! Wetze nur die Klauen’ – and sounds as if her own claws are as sharp as any tiger’s. Dessay completes the programme with Ilia’s ravishing garden aria, ‘Zeffiretti, lusinghieri’, and does it captivatingly with limpid, fresh tone and long-breathed melismata.
Langree has recently garnered glowing credentials as a Mozartian at Glyndebourne, and his beautifully conceived and theatrical accompaniments here demonstrate why. In addition, the period instruments of the Orchestra of the Age of Enlightenment complement the astringency of the soprano’s tone. This is a disc I shall expect to dip into often in 2001.’

AllMusic

Natalie Dessay - Mozart: Heroines (2001) (Repost)

Track List:

01. Die Zauberflote – ”Der Holle Rache”
02. Die Zauberflote – ”Ach, ich fuhl’s”
03. Lucio Silla – ”Vanne, T’Affreta…”
04. Lucio Silla – ”Ah se il crudel periglio”
05. Zaide – ”Ruhe sanft, mein holdes Leben”
06. Zaide – ”Tiger! Wetze nur die Klauen”
07. Ascanio in Alba – ”Dal tuo gentil sembiante”
08. Die Entfuhrung aus dem Serail – ”Welcher Wechsel..”.
09. Die Entfuhrung aus dem Serail – ”Traurigkeit ward mir zum Lose”
10. Die Entfuhrung aus dem Serail – ”Martern aller Arten”
11. Idomeneo, re di Creta – ”Solitudini amiche…”
12. Idomeneo, re di Creta – ”Zeffiretti lunsighieri”
13. Die Zauberflote – ”O zittre nicht, mein lieber Sohn!”

Performers:
Natalie Dessay (soprano)
Orchestra of the Age of Enlightenment
Louis Langree

EAC Log
Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 26. July 2013, 20:01

Natalie Dessay, Louis Langree – Orchestra of the Age of Enlightment / Mozart: Heroines

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Thanks to the Original ripper этиламин!

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