Diana Damrau - Arie di Bravura (Mozart, Salieri, Righini Opera Arias)
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Music CD Cover
Composer: Wolfgang Amadeus MozartComposer: Antonio Salieri
Composer: Vincenzo Righini
Conductor: Jeremie Rhorer
Orchestra: Le Cercle de l'Harmonie
Performer: Diana Damrau
Edition: Music CD
Audio: English (Unknown); Spanish (Original Language)
Format: Enhanced
CD Release Date: 2007-11-06
Music Label: Virgin Classics
Soundtracks:
- Cublai, Gran Khan Dei Tartari: Fra I Barbari Sospetti
- Il Natal D'Apollo: Ove Son? Qual'aure Io Spiro
- L'Europa Riconosciuta: Numi, Respiro...Ah, Lo Sento
- Il Natal D'Apollo: Ombra Dolente
- Die Zauberflote: O Zittre Nicht
- Die Zauberflote: Der Holle Rache
- Cublai, Gran Khan Dei Tartari: D'un Insultante Orgoglio
- Lucio Silla: In Un Instante...Parto, M'affretto
- Der Rauchfangkehrer: Basta, Vincesti...Ah, Non Lasciarmi
- Semiramide: Sento L'amica Speme
- Basta, Vincesti...Ah, Non Lasciarmi
- L'Europa Riconosciuta: Quando Piu Irato Freme
- La Finta Scema : Se Spiegar Potessi Appieno
Free Music Notes for Diana Damrau - Arie di Bravura (Mozart, Salieri, Righini Opera Arias)
Free Music Review: A Triumphant Debut Album
Hit: 5 Stars
Damrau is really amazing on this recording. She sings four arias by Mozart, seven by Salieri, and two by Righini. The program is extremely demanding, but Damrau flies through the technical challenges of the arias with astonishing ease. Perhaps a young Gruberova or young Dessay could have rivaled Damrau's magnificent performance, but it is hard to imagine any current soprano singing the arias as well as Damrau did.
Le Cercle de l'Harmonie, a period instrument ensemble, accompanies Damrau. They have apparently tuned to the pitch of Mozart's era, which is about a quarter tone lower than standard concert pitch. Nowdays, orchestras are supposed to tune the A above middle C to 440 Hz. However, there was no standardized pitch in Mozart's day, and orchestras generally tuned lower than they do today. Over the years, concert pitch was raised in order to achieve a more brilliant sound.
Damrau displays exceptional tonal control and astounding flexibility, as well as considerable emotional connection to the arias. Her runs, scales, turns, and divisions are executed almost perfectly, and her trill is secure (albeit not as impressive as Joan Sutherland's trill, although probably no modern singer could match Sutherland's magnificent trill). In the extremely difficult Salieri arias (which are possibly even harder than Mozart's concert arias), Damrau sings with great abandon and precision during the fiendish coloratura passages. Salieri's arias frequently soar up to the F and F-sharp above high C. (Damrau even interpolates a high G during the cadenza for "Ah, lo sento".) There is a touch of shrillness during some of the highest passages, but it is hard to imagine any soprano not becoming a little shrill when dealing with such taxing tessituras. The vast majority of the time, Damrau's upper register remains solid and crystalline. During "Se spiegar potessi appiento", a few sixteenth notes became a little muddled toward the end of a long melisma, but that is a very minor deficiency in light of the plethora of precise coloratura fireworks that Damrau sings throughout the disc.
The Queen of the Night's two famous arias from Mozart's The Magic Flute are included on the program. Damrau is an ideal Queen, truly one of the best I have ever heard. It's a shame that Damrau is dropping the Queen of the Night from her repertoire, as she seems as if she was born to sing that role. She sings with great power and authority. In her hands, the coloratura is not just a mere display of vocal virtuosity, but a means of characterizing the Queen's hellish rage. Damrau's fioriture actually sounds fiery, like the ferocious warblings you would expect to hear from a furious, irrational woman.
In the second aria, Damrau handles the five-note turns (each comprised of a grace note followed by four sixteenth notes) better than most sopranos. Sometimes, all five notes sound elegant and clearly articulated, although at other times the fourth and fifth notes of the figuration could have benefited from more tonal distinction, which also would have helped make some of the figurations sound smoother, more elegant, and less bumpy. Also, the grace note of the final figure wasn't articulated clearly. Her triplets, which are possibly the hardest passage of the aria, are quite impressive. In the first aria, Damrau actually sings the words "auf e-" toward the end of the long coloratura passage. Mozart has those words written into the score, but most sopranos continue singing "ah" throughout the entire passage, rather than singing the text that Mozart wrote toward the end of the coloratura section.
Damrau also sings "Parto, m'affretto", one of Guinia's arias from Mozart's Lucio Silla. The role of Guinia was composed for Anna de Amicis, who must have been a virtuosa extraordinaire, as Guinia is hands down the most difficult of the Mozart heroine roles. Her aria "Ah, se il crudel periglio" (which isn't included on the disc) contains perhaps the most difficult florid passages ever written. The soprano must sing sixteenth note after sixteenth note, like a skilled trumpet player. Because "Ah, se il crudel periglio" is the most virtuosic aria from Lucio Silla, it is the one that normally receives the most attention. However, truth be told, I actually like "Parto, m'affretto" better. I find "Parto, m'affretto" to be more dramatic, emotionally moving, and musically interesting and innovative.
"Parto, m'affretto" is also a very difficult aria, although not as demanding as "Ah, se il crudel periglio". "Parto, m'affretto" contains rapid staccati and treacherous triplets, much like the Queen of the Night. Damrau does an admirable job with all those technical challenges and sings the aria with great emotional depth and vulnerability.
It's really a wonderful opportunity to hear so much music from the golden age of florid writing. In addition, hearing two of Mozart's contemporaries is always interesting, just for the sake of comparing and contrasting their musical styles. Nevertheless, hearing Salieri's music only serves to illustrate that certain neglected composers are neglected for a reason.
Salieri's music just doesn't have the ability to sustain your interest. All of the high notes and wild vocal acrobatics (which are perhaps even harder than the technical challenges of Mozart's concert arias) are initially exciting, but the thrill is very short-lived. Once the initial shock of hearing such hair-raising sequences wears off, everything starts to sound repetitious, and you realize that the music hardly has anything to offer other than shallow virtuosity. Mozart's arias are much more dramatic, innovative, and musically interesting. That is why Mozart's arias hold much greater replay value than Salieri's. You can listen to many performances of Mozart and shouldn't grow tired of it, but Salieri is a composer that you will probably only want to hear once in a while.
Arie di bravura is a must-have for anyone who appreciates the high soprano voice. The recording is a triumphant debut album for Damrau and a rare opportunity to hear some obscure, but extremely demanding, arias, as well as some familiar and great ones by Mozart.
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