Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Lalo: Complete Songs

Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Félicien David: Herculanum

It is not often that a major work by a forgotten composer gets rediscovered and makes an enormously favorable impression on today’s listeners. That has happened, unexpectedly, with Herculanum, a four-act grand opera by Félicien David, which in 2014 was recorded for the first time.

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

A Prize-Winning Rediscovery from 1840s Paris (and 1830s Egypt)

Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.

Félicien David: Songs for voice and piano

This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).

John Taverner: Missa Corona spinea

This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Donizetti: Les Martyrs

As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Bernarda Fink Sings Mahler Lieder

Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

OPERA TODAY ARCHIVES »

Recordings

10 May 2005

Mara Zampieri: A Tribute to Verdi

The recurring practice in classical recording studios is “re-mastering” recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who released only a handful of commercial recordings and no personal compilations. Myto’s new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently.

Mara Zampieri: A Tribute to Verdi
Mara Zampieri (sopranao) sings arias from Nabucco, Ernani, Giovanna D'Arco, Attila, Stiffelio, Aida, Il Trovatore, La Traviata, Un Ballo in Maschera, La Froza del Destino
Myto 052.H102 [CD]

A recurring practice in classical recording studios is "re-mastering" recordings of a legendary artist, sometimes focusing on those artists well known but not frequently recorded. Soprano Mara Zampieri is one of those veteran performers, who appears in a relatively short list of commercial recordings and a few personal compilations. Myto's new release, Mara Zampieri: A Tribute to Verdi, is proof why this singer has not been recorded more frequently.

Born in Padua in 1951, she received her musical training at the Padua Conservatoire. She made her debut at 21 in the Fraschini Theatre in Pavia. She also was the winner of many prestigious international awards early on, including the AS.LI.CO of Milan. It seems, however, that this premature push in her music career led to a faltering technique, which is evident on practically every track on this recording, not to mention creates an unstable ground from which to perform Verdi.

The disc contains selections from Verdi's most popular heroines, Abigaille, Elvira, Givanna D'Arco, Odabella, Lina, Leonora, Violetta, Amelai, Leonora, and Aida. Unfortunately, Zampieri handles each role differently vocally speaking, not being consistent in her voice production or in her sensitivity and attention to detail in the music. Indeed, the sound can be very imposing, but the quality stays in the throat and doesn't bloom into the hall, which gives her timbre that "boy soprano" characteristic.

Some selections included are captivating, such as Odabella's "Liberamente or piangi... O nel fuggente nuvolo" from Attila. Zampieri exhibits sensitive phrasing and a sensible light and flowing vocal timbre. If only she performed in this way consistently in the rest of the disc!

Alas, one gem of an aria does not a recording make. Foolishly the recording's producers buried her best work in the middle of the disc, and exposed probably her worst work at the beginning. Zampieri's Abigaille is atrocious, particularly "Ben io t'invenni o fatal scritto." The dramatically disjunctive Verdian recitative, moving quickly from extreme high to low, takes her out of her best vocal core and into pinched high notes and tottery chest notes. She loses all grace in the line, something she mastered in the Attila. Her coloratura is also varied in tempo, from the sporadic in "Tutto sprezzo che d'Ernani" to outright rushing in Violetta's "Sempre libera."

There are many lyric sopranos performing on world stages today that would be able to undertake a recording such as this and execute each role, each aria with more musical competency. Not recommended.

Sarah Hoffman

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):