Muzyka Klasyczna

Elina Garanca - Bel Canto (2009)

2013-09-27T15:57:44Z

Elina Garanca - Bel Canto (2009)


01. Lucrezia Borgia Act 2 - Il segreto per esser felici
02. L'assedio di Calais Act 1 - Al mio core
03. Roberto Devereux Act 1 - All afflitto e dolce il pianto
04. Dom Sebastien Roi de Portugal Act 2 - Que faire Sol adore de la patrie
05. Adelson e Salvini Act 1 - Dopo l'oscuro nembo
06. Maria Stuarda Act 1 - Si vuol di Francia il Rege
07. Maria Stuarda Act 1 - Ah quando all ara scorgemi
08. Maria Stuarda Act 1 - In tal giorno di contento
09. Maria Stuarda Act 1 - Ah dal ciel discenda un raggio
10. Tancredi Act 1 - Andante
11. Tancredi Act 1 - O patria dolce e ingrata patria
12. Tancredi Act 1 - Di tanti palpiti
13. Maometto II Act 2 - Terzetto In questi estremi istanti
14. I Capuleti e i Montecchi Act 1 - Lieto del dolce incarco
15. I Capuleti e i Montecchi Act 1 - Ascolta se Romeo t uccise
16. I Capuleti e i Montecchi Act 1 - Riedi al campo
17. I Capuleti e i Montecchi Act 1 - La tremenda ultrice spada
18. L assedio di Calais Act 2 - Io l udia chiarmarmi a nome
19. L assedio di Calais Act 2 - Suon tremendo
20. L assedio di Calais Act 2 - La speme un dolce palpito

Elina Garanca (mezzo-soprano), 
Ildebrando D’Arcangelo (bass)
Matthew Polenzani (tenor), 
Ekaterina Siurina (soprano)
Coro del Teatro Comunale di Bologna
Filarmonica del Teatro Comunale di Bologna
Abbado, Roberto (conductor)

The remarkably beautiful Latvian mezzo Elina Garanca possesses a voice of equal beauty: there’s not a note on this CD that lacks warmth, sheen, or fullness of tone. Over the range of about two octaves (from B to B to B) the sound is staggeringly even; her control over dynamics is stunning and her breath control is to be admired, while at the same time she never draws attention to it as a “stunt”. However, the first track on this CD, which admittedly is the worst example, is amazingly boring: Orsini’s “Brindisi” from Lucrezia Borgia, a piece that has been used as a showpiece aria for mezzos from Sigrud Onegin through Ernestine Schumann-Heink to Marilyn Horne, is sung here with no energy, no joie de vivre, no inflection whatsoever.

The notes with the track listing read “performed from the original manuscript” (the same is noted for an aria from Bellini’s Adelson e Salvini), and I presume this means not only textually accurate, but without any embellishments, which is how it (they) are performed here. While you assume bel canto arias will be embellished, I don’t necessarily find it required for enjoyment, but this is such dull singing that it sounds like a run-through. Throughout, Garanca never uses anything like chest voice, but that, too, isn’t necessary. What is necessary is an involvement in the text.

The Adelson aria, a sort-of first draft for Giulietta’s “Ah, quante volte” from I Capuleti…, is such a beautiful, languid piece, and it sits so ideally in the middle of Garanca’s voice, that you hardly notice how bland it is. If you recall Kiri Te Kanawa’s or Kathleen Battle’s early recordings, you’ll know what I mean–the most ravishing sounds coming from a musically intelligent, superbly trained singer with no interest in communicating anything other than the sound of her voice. Add to this the fact that Garanca’s Italian enunciation is mushy (an aria from Dom Sebastien in French ignites her somewhat), and well, you get an odd recital. She sings Elisabetta’s music from Maria Stuarda with the loveliness and grace of Maria, not the harridan Virgin Queen; and while “Di tanti palpiti” shows off her fluency with coloratura (there’s not much of it here), it certainly does not dazzle as it should.

It’s a pity, too, since much of the material here is unusual, and she’s assisted by terrific singers, particularly in the fine trio from Maometto II, which is a successful outing because all Garanca has to do is blend. Romeo’s opening aria from I Capuleti is also good, but as ever, it needs more energy. Like Battle and Te Kanawa, Garanca will not lean on her voice at any register. She’s saving for a rainy day, and I certainly hope I’m there to hear her: as I said, the sound itself is a veritable bath of loveliness. A bit of drama, please–this is opera, after all! (A complete recording of Capuleti is about to be released and will be reviewed here soon; let’s hope singing in context is what Garanca needs to whet her dramatic chops.) --- Robert Levine, classicstoday.com

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Elina Garanca – Habanera (2010)

2013-10-08T16:28:26Z

Elina Garanca – Habanera (2010)


1.- Canción de Paloma  (Carmen)
2.- Seguedille et Duo: "Pres des remparts de Seville"
3.- Hor' ich Zymbalklange (The Bohemian Girl)
4.- I dreamt I dwelt in Marble Halls 
5.- Canción de cuna para dormir a un negrito
6.- Canción del amor dolido
7.- Nana 
8.- Vocalise en Forme de Habanera 
9.- Romanza de Socorro "Cunado esta tan honda" (Candide)
10.- I Am Easily Assimilated (Old Lady's Tango) 
11.- Canción del amor
12.- Jota
13.- "De España vengo" (Carmen)
14.- Chanson: "Les tringles des sistres tintaient" 
15.- El vito
16.- Canción de la gitana (Carmen)
17.- "L'amour est un oiseau rebelle" (Havanaise) 
18.- "L'amour est un enfant Boheme" (Havanaise 1st version)

Carmen is one of the roles for which Latvian mezzo-soprano Elina Garanca is best known and in this album, including several selections from the opera, she brings together a diverse assortment of songs and arias with gypsy themes. Most are musically related to gypsy cultures, and the majority are flavored by Spanish or Latin traditions, along with some that are Eastern European, but in "I dreamt I dwelt in marble halls," from Balfe's Bohemian Girl, the gypsy theme is only found in the text. Garanca's voice is warm and pure, but with a sensuality that suits this repertoire beautifully. Her "Seguidilla" (in which she's joined by Roberto Alagna) is especially effective, with an understated seductiveness that entices Don José as much by what it withholds as by what it reveals. That performance and Garanca's nuanced "Habanera" are ample evidence she fully deserves her reputation as a legendary Carmen. She also includes Bizet's original setting of the Habanera text, which the composer replaced with the now-standard version, and which is not a Habanera at all, but a fairly conventional Romantic aria in triple time. It's an interesting relic, but it is testimony to Bizet's good judgment that he recognized its conventionality, because his second thoughts on the text produced a piece that is head and shoulders above his first, both musically and in what it reveals psychologically about Carmen. Garanca shows her versatility by adapting easily to the various vocal styles required by this repertoire, from the full-blown operatic to the breezy popular flavor of a song by virtuoso Spanish guitarist José María Gallardo del Rey, who accompanies her on several tracks. Several of the selections, such as Montsalvatge's "Canción de cuna para dormir a un negrito" and de Falla's "Canción del amor dolido," are most compelling when performed by a singer with a more natural affinity for jazz, but Garanca's delivery is effective on its own terms. Karel Mark Chichon leads Orchestra Sinfonica Nazionale della Rai and Coro Filarmonico del Regio di Torino in thoughtful accompaniment. Deutsche Grammophon's sound is full and well balanced. --- Stephen Eddins, Rovi

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Elina Garanca – Romantique (2012)

2013-11-15T17:05:48Z

Elina Garanca – Romantique (2012)


1.Gaetano Donizetti - La Favorite - Act 3 - Oh! Mon Fernand
2.Camille Saint-Saëns - Samson et Dalila - Mon coeur s'ouvre à ta voix
3.Peter Ilyich Tchaikovsky - The Maid of Orléans - Act 1 - Farewell you native hills and fields
4.Charles Gounod - Sapho - Act 3 - O ma lyre immortelle
5. Faust - Faites-lui mes aveux
6.Nicola Vaccai - Giulietta e Romeo - Act 2 - Giulietta! oh! mia Giulietta! - Ah! se tu dormi
7.Hector Berlioz - La Damnation de Faust, Op.24 - Scène 15. Romance. "D'amour l'ardente flamme"
8.Edouard Lalo - Le Roi d'Ys - Act 2 - De tous cotés - Lorsque je t'ai vu soudain
9.Charles Gounod - La Reine de Saba - Act 3 - Plus grand, dans son obscurité

Elina Garanča, mezzo-soprano
Filarmonica del Teatro Comunale di Bologna
Yves Abel – conductor

In Romantique, Elina Garanca makes a smashing return to the studio and puts her imprint upon the big Romantic repertory, brilliantly portraying such different heroines as Tchaikovsky’s Joan of Arc (The Maid of Orléans), Gounod’s Sapho and Saint-Saëns’ Dalila.

Elina Garanca’s mezzo-soprano is velvet; she is a stunning figure on stage; her formidable technique encompasses repertoire from Mozart and bel canto to dramatic roles and contemporary music.

Conductor Yves Abel’s penchant for the voice and skill at leading an orchestra draws beautiful sound and potent drama from the Filarmonica del Teatro Comunale di Bologna. Elina Garanca’s rapport with this orchestra is deeper than ever. ---arkivmusic.com

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