New acquisitions

The Singers: Suzanne Danco

I know absolutely nothing of Suzanne Danco, except that I'm certain I've read about her somewhere, perhaps on somebody's blog. I can't even recall what I read, whether it was just a passing mention, praise or criticism. But it must have been praise — I can't think what anybody could find to fault in singing such as this. Though I must admit that to begin with, I really wasn't certain I would enjoy this disc much at all. My first impression was of a slightly small, pale voice, rather too icy and closed-sounding for my tastes. Yes, really. That impression, however, lasted all of about twenty seconds, before the silky timbre and free flowing beauty of Suzanne Danco's singing properly revealed themselves to me, and I knew I liked her just fine.

The disc opens with Danco's beautiful rendition of Dido's lament — Purcell ought always to be sung with a Belgian accent — but the true excitement begins with the second track, Alceste's "Divinités du Styx". A huge aria, and not a huge voice, but so strikingly expressive that not an ounce of the music's intensity is lost. That high note rings out perfectly; the low-lying "Ministres de la mort" is just as perfectly controlled, coloured with a subtly menacing darkness. She's a far from obvious Violetta, lacking, as Alan Blyth's liner notes concede, the requisite Italian warmth. Still, her interpretation remains a persuasive one; and her singing supremely lovely. I don't think I've ever heard clearer Italian diction in "Ah fors'e lui".

As Manon, Micaela and Louise, however, she is ideal. In arias which could all too easily turn cloying or melodramatic — "Adieu, notre petite table", "Je dis", "Depuis le jour — she aims instead for grace and simplicity, and succeeds wonderfully. A selection of Richard Strauss Lieder follows, including a sublime "Morgen" and a charmingly carefree "Ständchen", before Debussy's "Ariettes oubliées" which conclude the disc. They are faultless, exquisite — a textbook lesson in the art of the mélodie and exactly the right finish to a truly lovely compilation.

Joan Sutherland: The Greatest Hits

Since being in Sydney, I think I've fallen for Joan about thirty times over. To think that once, back in the dark, dank bad old days, I was indifferent to her! No more. So now I'm gradually accumulating more of her recordings, and "The Greatest Hits" is my latest acquisition. In theory, I object to the title, but in truth I can think of no better way to describe it. Because basically, she sings every aria on this CD better than anybody else ever has or will. Maybe that's a little too sweeping, but not much. I'm willing to state for the record that I think her "Let the bright Seraphim" is the best rendition ever. Ever. Piccinni's "Furia di donna" is one of my new favourite things in the world. Her "Les oiseaux dans la charmille" is preposterously good. And so on. In some singers, there's a pleasure and beauty in listening to how they cope with vocal challenges. With Joanie, though, the pleasure is in the absence of any audible coping strategy, or indeed any challenge — it's all just there, the easiest thing in the world. You want that note? Fine, here it is. Higher still? Not a problem. Four and half minutes of impossible coloratura? Possibilissima. And it's all of it meaningful, interesting and thoroughly musical, with not a hint of the mechanical or soulless. She's beyond belief really.

Stephanie Blythe: Handel & Bach Arias

This must surely go down as the bargain of the year, or at least the month. Seven dollars. Seven dollars. I mean, that's a more than reasonable price for just about any half decent CD. For a CD as fantastic as this one it feels a bit like theft.

I've heard Stephanie before only in the Met broadcasts of Rodelinda and have to confess, I really had very little recollection of how she sounded. Probably since I spent the most recent Rodelinda turning unexpectedly into a Fleming Flapper. However Handel mezzo + Virgin Classics + ridiculous bargain price is more or less a guaranteed formula for happiness so I made it mine without hesitation. And I love it. Her voice is much darker and more thrilling than I'd expected. Even track one, "Ombra mai fu" (because it's actually against the law not to include this on a Handel album) was genuinely exciting. The rest of it is just as good, better even. Her diction might occasionally be a little suspect, and there is a feeling sometimes that she's holding back a bit; I can't help feeling she could open up even further, maybe cause an earthquake or two. Her "Iris, hence away" could stand to be even more forceful (and the coloratura slightly more defined) but her Cesare is excellent, in both lamenting and action hero modes. She also makes a fine, if not so individual, Cornelia, though the duet "Son nata a lagrimar" with David Daniels sounds more like her father and daughter than mother and son. The Bach half is glorious, her earthy tone and heartfelt singing entirely suited to the music. "Erbarme dich" can't help but be sublime, regardless of who's singing it, but she gives it extra, individualised beauty as well; "Von den Stricken meiner Sünden" is another particular delight. It's wonderful to hear a nice big, dark mezzo sound once in a while, and I can only imagine that in the five years since this CD, the voice has becom even more gorgeous. Next time I hear her I really must pay more attention.