Adrianne Pieczonka: Wagner and Strauss

Now here is an outstanding young singer. While all the listening world is being distracted by the superficiality of the "big names": those with huge publicity machines driving sales of their tickets and CDs (no names necessary), here is an honest, straightforward, highly confident soprano from Canada.

Adrianne Pieczonka has been building her career slowly, but seems to be hitting her stride in a major way over the last year or two. This - her first recital disc - is a selection of scenes from Wagner and Strauss issued by the smaller German label "ORFEO". It is superb. Pieczonka fits into that rare vocal category - the "Jugendliche Dramatische" soprano. Her voice has a nice, rounded heft, but she by no means crosses into "Dramatic soprano" repertory. In fact, at least at this time, I would have a hard time even classifying her as a spinto. Thus, she is perfect for Arabella, the Capriccio Countess, Elisabeth, and Elsa. I would think Ariadne and Sieglinde a shade large for her voice, but she will certainly "grow into" these roles over time. Her control of phrasing is immaculate, and her sense of pitch is flawless.

For me, the Wesendonk Lieder could benefit from a somewhat more detailed approach, but Pieczonka's unfussy clarity is welcome, for sure. In fact, we've heard ALL of these selections with layers of "interpretation" and "fussiness" in other contexts: not here. Pieczonka wipes all the slates clean with her cool, silvery vocalism and direct, uncomplicated approach to the texts. Coincidentally, I heard this singer as Tosca in a broadcast from San Francisco over the weekend, and she was equally excellent in that very different musical context. Her second recital disc - due out very soon - is also on ORFEO, and includes all Puccini arias. I will be very anxious to hear it.

Donizetti: Parisina

Well, this is a "chestnut" for all fans of the bel canto period, but I wanted to pay a return visit to this benchmark recording on the eve of receiving my copy of Opera Rara's brand new edition. It's hard to believe the Caballe version was recorded (live, in Carnegie Hall) almost 35 years ago. Even harder to fathom is that only two additional recordings of this superbly dramatic opera have appeared in the interim. One of them (on Bongiovanni, and recorded live) can be dispensed with quickly: it is a poor performance in every way. The other, a studio effort issued on the Dynamic label, features an uneven cast, headed by the fascinatingly individual, yet (in this instance) squally Alexandrina Pendatchanska. I anticipate that the new Opera Rara set will trump all others - certainly in terms of "completeness", if not necessarily in terms of performance quality (this remains to be determined). It is also worth noting that the superb Mariella Devia sang the titular heroine a decade or so ago, and the live air-check of that performance is very much worth acquiring.

Returning to the Caballe performance from 1974, it should go without saying that this is a must for every bel canto lover's collection. Caballe is in top form, holding the audience in the palm of her hand throughout - singing bel canto in with all her signature flourishes: high pianissimi, dramatic bursts, incredible dynamic contrasts, and extraordinarily beautiful tone. Quilico - in a truly wonderful bel canto baritone role, sounds more Verdian than truly "bel canto", but this is late Donizetti, and thus the foreshadowings of the Verdi style are not problematic. Still, he seems a bit detached, though his overall achievement is excellent. Do we have ANY baritones like him around today? Pruett holds up his part very effectively, even if his voice, per se, is on the light side. He sings with great sincerity and gusto, and is richly rewarded with applause from the appreciative audience. James Morris was a real youngster back in '74, and he sounds terrific in his every scene. Queler's conducting - the object of derision over the years (much of which has been deserved, IMO) is quite good here. She holds the forces together nicely, while giving Caballe all the room she needs to work her considerable magic. As I said above: this recording is a must for all fans of Donizetti and Caballe.

Mozart: Don Giovanni

I recently picked up a copy of Marriner's Don Giovanni - not that I needed another recording of this masterpiece - in order to hear how Sharon Sweet negotiates Donna Anna.

I have become enthralled with the "period performance practice" of Rene Jacobs (and similar), and must admit that Marriner now sounds more than a little bit old-fashioned in his approach. The whole recording has a gloss - no - a dull patina of mellifluousness that skimps on theatricality to the point of inducing near-boredom. Marriner conducts as if he himself is bored (since Philips was relying on him in the 80s and 90s to record MANY genres - perhaps he was simply tired or uninspired?).

Still, much of the singing is excellent, if not quite as detailed and error-free as we hear now, 20 years or so since this studio effort was completed. Sharon Sweet's voice is in the "dramatic soprano" category for certain, and here, she seems to be reining herself in much of the time. She sings accurately, but without the flair she brought to her later recording of Lohengrin (Davis, RCA). The roles of Donna Anna and Elsa could hardly be more different, of course, and the latter gives the singer much more opportunity for letting her voice bloom fully and ring out to the ears of the listener. Still, I love her sound, and it's great to have this recording for her alone. Thomas Allen is a favorite too, but here I felt he was just too suave, too elegant. His tone also reminded me - jarringly - of Robert Preston. I prefer a little more bite and sinister coloring for this role, or else the Don seems rather more happy-go-lucky than psychotic.

McLaughlin is a pleasant surprise as Zerlina - thank God not another soubrette in the role, but her singing is a bit coarse in places. Mattila sounds unwieldy - the voice has an interesting color, but she sounds out-of-sorts, which I guess is appropriate for Elvira. Alaimo is thoroughly miscast as Leporello, sounding like Dulcamara or Bartolo has wandered in to the wrong theater. Otelli makes little impression as Masetto, but Robert Lloyd is wonderfully chocolatey and imperious as the Commendatore. All in all, I don't imagine I will return to this recording again, but I am happy to add to the Sharon Sweet library, and may play her contributions from time to time.

A New Beginning

Listening to recordings of opera and vocal music (well, ALL kinds of music, really) teaches me things. I am almost always enriched in some way: I learn of a new singer or I hear familiar music performed in a new way. I don't have a lot of time to listen: my life is full. Still, I probably average 10 hours per week (usually while commuting), so I will comment HERE on what I HEAR. My brain tosses around ideas and thoughts about singing, but I almost never get to discuss them, and I know I can't be the only one in this predicament. So, maybe in publishing and archiving some thoughts here, I will encourage others to join me in a discussion?