Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

OPERA TODAY ARCHIVES »

Reviews

Lado Ataneli — Opera Arias
22 Sep 2005

Lado Ataneli — Opera Arias

Baritone Lado Ataneli’s self-titled debut CD contains an impressive selection of arias intended to showcase the singer’s style, range, and versatility.

Lado Ataneli — Opera Arias

Lado Ataneli, baritone; Slovak Radio Symphony Orchestra, Ivan Anguélov, Conductor

OEHMS Classics OC 517

 

The liner notes, taken verbatim from Ataneli’s web page (www.ataneli.com), praise the singer as “one of the world’s most sought after interpreters of Verdi, Puccini and verismo roles,” and as such, the disc features Ataneli in fourteen well known musical excerpts from operas by Puccini, Leoncavallo, Ponchielli, Giordano, and Verdi. Regretfully, in the “verismo” canon as with Ponchielli, there is only one selection per composer, and the rest of the tracks are devoted to some of Verdi’s most demanding music for the baritone.

Leoncavallo
Pagliacci: Si puo? (Tonio)

Verdi
Un Ballo in maschera: Alla vita (Renato)
Un Ballo in maschera: Alzati!...Eri tu (Renato)
Rigoletto: Cortigiani, vil razza dannata (Rigoletto)
La Traviata: Di provenza il mar (Giorgo Germont)
Don Carlo: O Carlo, ascolta (Posa)
Otello: Vanne…Credo in un Dio crudel (Iago)
Il Trovatore: Il balen del suo sorriso (Conte di Luna)
Macbeth: Perfidi!...Pieta, rispetto, amore (Macbeth)
Nabucco: Ah prigionero io sono!...Dio di Giuda (Nabucco)
La Forza del Destino: Morir! Tremenda cosa!...Urna fatale del mio destino (Don Carlo)

Puccini
La Fanciulla del West: Minnie, della mia casa son partito (Jack Rance)

Ponchielli
La Gioconda: O monumento! (Barnaba)

Giordano
Andrea Chénier: Nemico della patria?! (Gerard)


After listening to this disc several times, and in spite of some very positive and encouraging reviews of live performances, I cannot warm up to this singer—he can deliver some clear high notes, he has excellent diction, and his instrument has a pleasant timbre and the warm, dark quality required to sing some of these roles. To this listener, however, Ataneli offers little interpretive understanding of the subtleties inherent in each of the characters’ emotions. Through most of the recording Ataneli sounds as though he is holding back or bored (Otello’s Credo, Trovatore’s Il balen del suo sorriso, Pagliacci’s Si puo), that he is singing outside of his range (Ballo’s Alla vita…Alzati…Eri tu!) or that he is singing without knowing what the words mean. Though he has been praised for “glittering high notes and irreproachable legato,” on this recording, he occasionally eliminates or avoids legato, at times the forte is unpleasant, and more than once the heavy vibrato almost becomes an annoying wobble.

Ataneli has been compared to the greatest baritones of yesteryear and hailed as their successor, and in fact his instrument is reminiscent to the likes of Bastianini, Bruson, Milnes, Capuccilli, but listening to this disc makes one wish one were listening to them, instead.

Chénier’s Nemico della patria!, and Rigoletto’s Cortigiani, vi razza dannata come closest to the interpretation which one would expect, and are by far the best tracks in the disc, filled with emotion and conviction. Ataneli’s first disc is sincere, and well intentioned, but marred by some inconsistencies which in time he will overcome, and at a time when there is a dearth of baritones, he is a welcomed addition.

Daniel Pardo

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):