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Buyer Reviews
Average Buyer Rating:
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full stars all the way!
A must have! That's all one has to say about this! Well done Natalie. We move with you...a true actor-singer synthesis who is also very precise musically and correct in technique! Brava!
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If the girl didn't send me to the moon......
...she never made me cringe, either. Callas made me cringe. Often...OK, that's not really fair...Miss Dessay is of the lyric/coloratura mold; Callas fit more in the lyrico-spinto niche. This is a well presented program of lyric and bel canto staples [and some not so staple]....it fits Miss Dessay to a T. Her upper, and middle, notes are her strong points..."always play to your strength" is a good lesson anywhere.
My favorite cuts were the first and last...Violetta's "sempre libra", an ode to hedonism if there ever was one, is superb. And Lucia's Mad Scene rocks. Rocks? Poor word, but...? OK...chilling. I have heard better renditions of "caro nome", but she sure got the job done.
Opera is bad for trotting out records, and comparing. Unfortunate. Unavoidable. Natalie is a very wonderful singer. Anna Nebtreko, and Bidu Sayao, send me off into outer space...but, even though they share roles, they are not true comparisons. Joan Sutherland? You can be very good, and still not be as good as the greatest ever. Natalie must sing Lucia to folks who heard Sutherland...unfair, but that's opera. Callas? Well, I'm not one of her fans. [No comparisons allowed with Ponselle and Flagstad; they were unique one-time gifts from God].
This is a very well-done, well-selected, album. Miss Dessay is a truly wonderful singer...bet you'll like her.
ADDENDUM...after watching the DVD...it's easy to say "yes, but I heard Sutherland..."; OK....well....but I saw Dessay. Absolutely fabulous. Dame Joan is a voice for all eternity, but Lucia is weak, wounded, and pathetic. Those are not words to describe some Lucia's, and certainly not Sutherland, but Natalie makes you believe it. Five Stars for the video.
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Splendid coloratura work
As I understand it, Natalie Dessay recently underwent surgery for nodes on her vocal chords. Hence, I was quite interested to listen to this CD, to see if this had affected her obvious gifts as a coloratura soprano, one of those high-flying phenomena. I even compared how she sounded here to some of her earlier recordings; for the most part, I don't really hear much of a difference (but my ears are quite untutored).
She reigns as one of the premier coloratura sopranos of the current era. I'm not sure that she ranks with Sumi Jo, but she surely ranks ahead of most others of her species. And her awesome high notes (listen to her in "Fruhlingstimmen," the Strauss waltz; that final note must be G or possible even A above high C? Not quite Mado Robin-esque, but pretty impressive--and musical at the same time). . . . Here is a sampling of cuts from this CD.
"E strano!. . .Sempre libera." This segment from Verdi's "La Traviata" is a wonderful work. She begins this nicely, in "E strano!," an aria sung well and affectingly (from videos that I have seen, she appears to be a good singing actress). How about her performance in the cabaletta, "Sempre libera"? She seems in command of this piece, and her singing is quite satisfactory indeed. There is a bit of harshness here and there, but not a critical problem. A solid high note to close out. Overall, nicely done.
"Vien diletto." If I were to create a collection of my favorite cabalettas from opera, this piece from Bellini's "I Puritani" would be on that list. The first run through is smoothly sung, albeit at a deliberate pace. The repeat? She amps it up. Much more florid singing, including nice staccato singing and interpolation of higher notes. No trills, to my regret (I know, I should not impose what I'd like to hear on an artist's interpretation, but. . . .). Well done, with a nice final high note.
"Nella pace del mesto ripose." This is from one of Donizetti's operas, "Maria Stuarda," another nice entry in the coloratura soprano repertoire. Overall, smoothly sung, with considerable vocal agility. Midway through, some ugly sounds, as her voice gets awfully harsh on a couple high volume high notes (a la the late Callas, whose voice spun out of control in such circumstances). Still, she recovers well and concludes with a set of solid high notes.
The final cut I'll look at--my favorite cabaletta of all, "Spargi d'amaro pianto," from Donizetti's "Lucia di Lammermoor." For those who are interested: Yes, she sings the Italian and not the French version (hearing Dessay sing this in French is weird, since I have memorized the Italian lines from the cabaletta); yes, the orchestra uses the glass harmonica (according to the liner notes). The first go through is taken at a rather slow pace, but Dessay sings well. The repeat? More florid singing (as one would hope), staccato singing, a decent trill, fine agility, and a solid final high note. Not sure that her high notes are quite as stunning as before surgery, but she still does well closing out an aria.
And, there is a bonus! One also gets with this a DVD of her Metropolitan Opera performance of this opera in September, 2007. It's sometimes fun to watch as well as listen to opera singing. The pace from this performance is peppier than that on the CD. From what I can tell, she is a fine actress for an opera singer (compare her acting performance in videos with Joan Sutherland's in the Mad Scene). When she repeats "Spargi," she shows good staccato singing, a nice trill, and good vocal agility. Nice final high note.
So? A good compilation of recent operatic works by Natalie Dessay. And the DVD is a nice bonus.
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Natalie Dessay
I bought this recording to hear the amazing coloratura of Natalie Dessay specifically displayed in stunning bel canto vocal arias from Italian opera.
