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

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

OPERA TODAY ARCHIVES »

Reviews

The Mozart Album
09 Sep 2009

Danielle de Niese: The Mozart Album

After thoroughly enjoying Daneille de Niese’s recording Handel Arias, I jumped at the chance to review her new recording, The Mozart Album. Her Handel interpretation was full of coloratura, clarity and virtuosity, along with an organic fusion of music serving drama. So I was eager to hear her perform Mozart.

The Mozart Album

Danielle de Niese, soprano; Bryn Terfel, bass-baritone. Apollo Voices. Orchestra of the Age of Enlightenment. Sir Charles Mackerras, conducting.

478 1511 2

$13.99  Click to buy

The Mozart Album, however, is a cautionary tale of sorts that serves as a reminder that Mozart is not to be taken lightly. Ask any vocalist or instrumentalist, Mozart is the most difficult composer to perform. Why? Mozart demands technical perfection, a superior level of musicianship, subtle phrasing and a command of the musical drama. In short, he demands everything!

In The Mozart Album, de Niese runs the gamut of repertoire from sacred arias, to concert arias, to opera arias, and, finally, to a duet with baritone Bryn Terfel. She begins with Exsultate, jubilate (K165), a motet for soprano, organ, and orchestra in three movements. Throughout, de Niese displays incredibly accurate coloratura lines gleaming with color. Notably absent, however, are a consistent legato and warmth in the lines. At times there is a strange straight-tone quality within the phrases that make no stylistic sense and that tends to distract the listener. While the first two movements are lacking in drama, she performs “Alleluia, ” the third movement and certainly the crown jewel of the motet, with high-flying coloratura lines and finessed phrasing. These inconsistencies in performance quality, unfortunately, plague The Mozart Album.

In the concert aria “Bella mia fiamma, addio!,” Ms. de Niese’s performance is much more secure with support and warm returning to the voice, even in the legato lines. The opening recitative is infused with drama from the outset, the escalating phrases captivating the listener. Within the aria, there are brilliant, but fleeting, moments of clarity. Throughout the aria, the listener can hear air escaping during the execution of the tone, making the sound quite fuzzy. “Bella mia fiamma” requires strength in the tone because of its bold harmonic nature and expansive range, and without that, the intended effect of the piece is lost.

If the purpose of The Mozart Album is to “show her stuff,” de Niese’s selection of “Al desio di chi t’adora” is a puzzlement. One of many alternate arias to “Deh, vieni, non tardar, ” “Al desio” pales against “Deh, vieni,” the greatest test of the lyric soprano that demands excruciating long lines, incredible vocal support, delicate shaping within the vocal lines, and an ability to release the drama while maintaining control. Instead, “Al desio” gives us more of the same — short phrases and an abundance of coloratura — all with a lack of sensitivity.

The middle selections are the highpoint of this recording, which include “Una donna a quindici anni,” “Padre, germani, addio!”, and “Ah! fuggi il traditor.” Despina’s aria is full of fiery energy, the Italian facilitating her brilliant comic vocal lines. The aria from Idomeneo, the first of Mozart’s great operas, is quite similar to Handel’s writing style, although Mozart injects more drama within the music and utilizes more complicated forms and harmonic structures than Handel. Ms. de Niese seems to be at her most comfortable in this piece. The aria is full of moving lines and coloratura, the tessitura particularly highlighting the beautiful parts of her voice.

Donna Elvira’s aria “Ah! fuggi il traditor!” from Giovanni proves a pleasant surprise. De Neise comments, “Although I have not yet sung Elvira on the stage, this aria really represents the direction I’m heading in vocally, as my voice is growing a lot.” Her Elvira is bursting with anger, and she seems to grab hold of the extensive range and disjunct intervals with power and ease. This aria is a tour de force, but inasmuch as it is less than two minutes in duration, it is difficult to discern whether her voice is capable of singing the entire role. I am hopeful that she continues to move in this stronger, fuller lyric direction.

The penultimate selection is the duet “La chi darem la mano” from Don Giovanni, performed with Bryn Terfel. Ms. de Niese follows his lead regarding the musical phrases, and allows much more finesse to shape her vocal line. But, the final selection, “Laudate Dominum” (from Vesperae solennes de confessoreis (K339)), is another disappointment. This piece requires considerable vocal control and support to navigate the large leaps and long, soaring phrases. Yet, in endeavoring to maintain the solemn character of the piece, her performance lacks the energy that predominates in her highly dramatic selections. Also, the Apollo Voices are not polished in the choral comments. There is a lack of blend, with the phrasing being more disjointed than soaring and Mozartian.

This album says a great deal about Ms. de Niese’s vocal direction. Her voice continues to maneuver coloratura with great aplomb, yet the legato lines that are needed for her to move into fuller lyric coloratura repertoire are not yet worked out. In the liner notes, Brian Dickie reveals that many of the pieces on this album were first performed in the soprano’s high school years, and I suspect that her technical delivery of this music is influenced by her initial exposure to the repertoire. Perhaps another Mozart album will bring forth the fuller, dramatic repertoire that Ms. de Niese is growing into. And I suspect that as her voice grows into its own, her Mozart will become fuller, more grounded, and easily shaped to truly convey the composer’s musical and dramatic intentions.

Sarah Luebke

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):