smorg's Full Review: Vesselina Kasarova - A Portrait / Haider, Munich R...
VESSELINA KASAROVA: A PORTRAIT
This is an audio CD of mezzo-soprano opera arias recorded in 1996 on RCA Red Seal label.
There are singers who make everything sounds beautiful.... and then there are those very rare ones who make everything sounds both beautiful and realistic... really able to bring operatic character to life in relatable manner. The Bulgarian-Swiss mezzo soprano Vesselina Kasarova is one of the latter. This is a really good introduction CD to this singer, especially if you are already a fan of Italian opera. It might be a bit hard core if you are new to the genre (most are virtuoso numbers), but tracks 2, 3, & 4 should appeal to you as well, and others will likely grow on you as you acclimatize.
If you aren’t already an opera fan and are wanting to check this singer out, though, I would instead recommend her Mozart Arias CD. Lots of splendid virtuoso singing there, too, but Mozart’s melodic appeal is more universal than other composers here, I think.
Singer: Vesselina Kasarovamezzo-soprano
Conductor: Friedrich Haider/ Munich Radio Orchestra
Chorus Master: Michael Glaeser/ Choir of the Bavarian Radio
Tracks:
1. GF Haendel: Rinaldo: Or la tromba in suon festante
2. CW Gluck: Orfeo ed Euridice: Che faro senza Euridice?
Tracks 1 & 2 are baroque pieces. Or la tromba is the majestic martial aria Rinaldo sings in leading his fellow Christians to the final battle of the 1st Crusade to seize back Jerusalem. It is a short and rousing coloratura show piece with the voice dueling with virtuoso trumpets and trombones. Frau Kasarova gives a sparkling heroic rendition that gives me a sense of being transported onto a horseback of one of the crusading knights riding into battle in a glory-seeking mission after Rinaldo. The only quibble I can offer is that the brasses aren’t as heroic sounding as the singer is. If you open a new window and paste the following URL on to the browser, you can hear a sound clip of this number:
www.ucis.pitt.edu/opera/OFB/stars/kas0101.mp3
Che faro senza Euridice, from Orfeo ed Euridice or Orphee et Eurydice, is a wistful air Orfeo (Orpheus) sings after having lost his wife Euridice for a 2nd time (and presumably forever) because he looked back at her before they had crossed the River Styx back to the land of the living (well, he is supposed to be quite good looking, so no, she didn't die of fright). This is an understated rendition that effectively conveys the extent of Orfeo’s emotional devastation. Frau Kasarova uses minimum vibrato (pulsation of the voice) through out this number except during her calls for Euridice. A very effective contrast that both show that Orfeo has lost all hope and the will to live (hence the ensuing suicide attempt), and that this devastation is caused by the death of his beloved Euridice.
I also like that Maestro Haider doesn’t set too quick a tempo at the start of the piece as often is in other recordings as this orchestration can sound downright jolly if conducted at too fast a pace. And that would fit the situation as much as someone breaking into a laughing fit at a funeral (for an example of such transgression, see how it is done on the Runnicles recording of the opera Orphee et Eurydice with Larmore, Upshaw, and Hagley).
3. WA MOZART: Le nozze di Figaro (The Marriage of Figaro): Voi che sapete che cosa e amor
4. WA MOZART: Don Giovanni: Batti, batti, o bel Masetto
These 2 following tracks are the songs of the innocents... if you will. #3, Voi che sapete is one of the best known mezzo trouser arias around. It is sung by Cherubino, a horny young page of Count Almaviva. The playwright Beaumarchais (who penned the original play the opera is based on) specified that "Cherubino’s sweet nature can only be portrayed by a young and very pretty woman," and so Mozart wrote Cherubino’s music for a soprano (though now he is often sung by a mezzo with good high notes). The song is a lovely serenade Cherubino sings to the Countess (whom he adores... though that isn't saying much since Cherubino seems to adore anything female). It is easy going in tempo and beautifully highlighted by the French horn. As catchy an opera tune as you'll ever find, and this is as good a reading as you will hear anywhere. Beautiful legato (smooth connection between notes) singing with a real sense of youthful erotic urgency, too.
#4, Batti, batti from Don Giovanni is a rather alarming song Zerlina, the simple peasant girl, sings to placate her jealous fiance Masetto by teasingly telling him to hit her if it would make him agreeable again. Being sensually teasy is something this singer does very well (especially when the music lets her utilize her glowing hot ember of a middle voice register!). I swear this voice would glow in the dark!
5. G ROSSINI: La Cenerentola (Cinderella): Nacqui all’affanno/ non piu mesta
6. G ROSSINI: Il barbiere di Siviglia (The Barber of Seville): Una voce poco fa
7. G ROSSINI: L’italiana in Algeri (The Italian Girl in Algeria): Pronti abbiamo/ Amici in ogni/ Pensa alla patria
8. G DONIZETTI: Anna Bolena (Anne Boleyn): Spossa a Percy/ Per questa fiamma/ Ah! Pensate che rivolti
9. G DONIZETTI: La Favorita (The Favorite): Fia dunque vero/ O mio Fernando
10. V BELLINI: I Capuleti e i Montecchi (The Capulets and the Montagues): Se Romeo t’uccise un figlio/ la tremenda ultrice spada
The final 6 tracks are bel canto numbers, the real meat of this CD. Bel canto music emphasizes beautiful melodic writing for the voice and demands both the ability to sing very smooth legato and superb agility in singing very fast coloratura (LOTS of notes sung in fast succession to decorate the melodic line). I dare say that there is no better bel canto specialist mezzo soprano around than Frau Kasarova. While the first 4 tracks of Baroque and Classical period numbers may not make you forget the likes of other greats like Susan Graham or Frederica von Stade or Marilyn Horne, the last 6 blows any competition away by a mile! Not only is Frau Kasarova up to all the technical challenges demanded by these virtuoso numbers, she sings them in more communicative manner than anyone I’ve ever heard. One never gets the sense of being sung at or machine gunned by the vocal pyrotechnics. All her ornamentations are meaningful and have an effect of enhancing the music itself. Wonderful stuff! My favorites are #5, 6, & 9.
For those new to opera, these tracks come with lead-in recitative (sung speech)... so wait for it. The meat (real aria) comes a minute or two into the tracks. It may be annoying listening at first, but the lead ins are really useful in putting you into the mood of the scene the main aria takes place in the opera.
#5, Nacqui all’affanno, ends the opera La Cenerentola. Angelina (Cinderella), having gained superior status to her cruel step father and sisters, reflects back on her ordeals and extends the olive branch to her former suppressors. It’s rondo cabaletta non piu mesta is where Rossini lets his singer really show off her stuff to bring down the curtain with a bang. You hear the basic melody first (a very catchy one with the piccolo giving the overview), and then it is repeated twice in increasingly florid manner. What soft touch this singer has while coping effortlessly with such demanding ornamentations (these were all written out by the composer himself... a control freak, Rossini was in that regard)!
#6, Una voce poco fa, from Il barbiere di Siviglia, is Rosina's introduction aria. Occasionally she is sung by a soprano (with the air transposed up to the F-major key). I say it sounds much better in the original mezzo E major key, as heard here. Rosina (who would one day become the Countess Almaviva to whom Cherubino would sing track #3 to) is musing about her suitor Lindoro (actually Count Almaviva in one of his disguises) and how she would stop at nothing to ...er.. conquer him (Gloria Steinem would be proud!). Hear's a sound clip of the piece: www.ucis.pitt.edu/opera/OFB/stars/kas0102.mp3
Frau Kasarova is a mischievous Rosina with 2 distinct personalities. She sounds naive enough the slow opening phrase, and then she gets to Mi fo guidar, ma se mi toccano dov’e il mio debole (I can be disciplined, but if you touch my soft spot..), and changes into a cunning girl you wouldn’t want to mess with from the amusingly buzzing ma (but) on. And her high B’s are PINGING, too. Not a slightest bit of strain on them.
#7, Pronti abbiamo/ pensa alla patria, is a zany number sung by the very feisty Isabella, who had shipwrecked on the shore of Algeria and is now rallying other Italians to help her escape the place (so she wouldn’t have to marry the Algerian chief). Really, the Italians can’t help but obey her... they can hardly get a word in with her singing all those long and florid lines as if a breathe an hour is all she needs. This is an easy number to come off sounding heavy handed, but Frau Kasarova is well schooled in breath support and is never in any danger of running out of oxygen (wouldn’t want to get into a shouting match with this one).
#8, Per questa fiamma indomita, is Giovanna (Jane Seymour)’s plea to Enrico (King Henry VIII) to spare Queen Anna Bolena (Anne Boleyn)’s life. As history would attest, the plea went in one ear and out the other... and Anna Bolena’s been wandering the corridors of Hampton Court and the Tower of London looking for her severed head ever since. Anyhow, from this rendition I’d have to say that’s due to Henry VIII’s hearing problem (among his other complexes) rather than from Jane Seymour not pleading touchingly enough.
#9, Fia dunque vero/ O mio Fernando, is one of the greatest mezzo aria ever. This is an Italian version which is slightly different from the original French version (La Favorite), especially toward the ending. The first part is a distressful sung speech leading to the actual aria of a gorgeously simple and dignified French horn and harp accompanied ballad with the final twist of hysteria as Leonora’s despair over not being worthy of marrying Fernando because of her 'King’s favorite mistress' stigma turns into defiance. Arias like this one really highlight Frau Kasarova’s ability to express a very wide range of emotions in her voice (without emoting). What amazing use of voice colors!
The anchor track 10, 'Se Romeo t’uccise un figlio (If Romeo killed your son)' from I Capuleti e i Montecchi is spectacular and gives evidence of why this singer is so in demand in bel canto trouser roles. Not only is her face androgenic, her voice is as well. There is just enough masculinity in it to make it believable that she is singing the male part of Romeo (and yep, this Romeo did kill Capellio’s son... and now is asking to marry Capellio’s daughter Giulietta. Talk about being daring!). She is accompanied ably by the tenor Andreas Schulist as Tebaldo (Tybalt) and the bass Leonid Savitzky as Capellio.
A marvel of a story telling singer this Bulgarian-Swiss mezzo is. She has it all, a highly individualistic and oddly beautiful voice (you won’t mistake her for anyone else) of great range and agility that is used in expertly controlled manner and exquisitely expressive ways. If you enjoy classical vocal works, this is an absolute must buy. She also does wonderful Lieder and Bulgarian folk songs, too.
If you ever get the chance, go hear her live before she gets old and the voice goes! This is a legend in the making and she actually sounds better live than on studio recordings.
1 CD. All numbers sung in Italian. The thin booklet contains track listing, a note on each numbers, and libretto in Italian and English.
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