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Reviews

Ewa Podleś — Rossini gala
30 Oct 2005

Ewa Podleś — Rossini Gala

If Rossini could set a laundry list to music, then Ewa Podleś is one of the few candidates available to sing it. In this CD, recorded live at the Polish Radio Hall in Wroclaw (Wratislavia), during the thirty third International Festival Wratislavia Cantans Music and Fine Arts, the Polish contralto gives ample proof of her status as one of the great singers of her generation.

Ewa Podleś — Rossini gala

Ewa Podleś, Leopoldinum Chamber Orchestra and musicians of National Philharmonic, Wojciech Michniewsk (cond.)

Dux 0124 [CD]

 

Podleś is one of those singers whose versatile instrument is as comfortable singing Tancredi, in the opera by the same name, Isabella (L’Italiana in Algieri), Rosina (Barbiere di Siviglia), Adalgisa (Norma), Eboli (Don Carlo), or La Haine in Gluck’s Armida. In fact, this singer can tackle any role she desires, and do it successfully. Her voice is dramatic, and she possesses an extraordinary technique which enables her to show off an impressive range spanning three octaves. She is a remarkable artist whose effortless singing comes through in her emotionally charged performances.

The timbre in her voice is warm, bronzed and pleasant to the ear; her ability to switch registers with great ease is well demonstrated, as in Arsace’s aria,“ A quel giorno,” springing from the depths of her being, and ending with crystal clear soprano-like high note; and the reverse is also true as in the finale of “Non temer d’un basso affetto” from Maometto II. She displays a firm, secure, staccato with short, rapidly sung notes, which Bernard Holland (New York Times, May 5, 2005) has likened to “bayonet charges.” When listening to this CD, other singers come to mind, not as a point of comparison, but as a compliment to her artistry and her ability to convey the drama, emotions, and the “Bel Canto” of what she is singing. Podleś delivers a rock solid performance—close to sixty minutes of non-stop singing, in what must have been an electrifying concert.

Podleś’ is clearly not one to please every listener—like any other singer she has her “own” mannerisms, some which are more noticeable in live performances; but the qualities of her instrument and her artistry cannot be denied. The contralto was in powerful form for this concert, and after listening to this CD her detractors will also come out her most ardent fans.

The Leopoldinum Chamber Orchestra, under conductor Wojciech Michniewski, is very effective in accompanying Podleś. This CD also includes one solo selection for the orchestra, the overture to Rossini’s Il Babiere di Siviglia.

Daniel Pardo 2005

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