Vesselina Kasarova - Rossini Arias and Duets / Flórez, Fagan

Editorial Reviews
Amazon.com essential recording
Once again, Bulgarian mezzo-soprano Vesselina Kasarova proves that one can forget even the fabulous Cecilia Bartoli. With a voice at least twice that of Bartoli's, with the same agility in fast music, and capable of a similar number of shadings from ppp to fff (Bartoli can go from ppppp to f), Kasarova here tackles some of the same repertory as her Italian counterpart. We discover that her Cenerentola is much more easily wounded and far gentler, and maybe even more appealing than Bartoli's. But forget comparisons and just listen to Kasarova's infectious, seductive scene from L'Italiana and the amazing, breakneck finale to La Donna del Lago. Marvel at her manly singing in Arsace's big scene from Semiramide (totally different from Horne's and no less riveting), and bask in the charm of her Armida. Enjoy a scene from the almost unknown Bianca e Falliero. And just to surprise yourself, listen to Kasarova in a duet from Rossini's Otello and be knocked out by her foray up to a high D natural. Kasarova is joined in this and a couple of other scenes by sweet-voiced tenor Juan Diego Florez. Arthur Fagen conducts throughout as if this were Kasarova's show--which it most certainly is. --Robert Levine

Tracks:

Bianca e Falliero: Tu non sai qual colpo atroce
L'Italiana in Algeri: Per lui che adoro
La Cenerentola: Una volta c'era
Semiradime: Eccomi alfine in Babilonia
Armida: Amor... possente nome!
L'Italiana in Algeri: Cruda Sorte!
Othello: Ah, vieni nel tuo sangue
La Donna Del Lago: Tanti affeti in tal momento

Amazon.com essential recording

Once again, Bulgarian mezzo-soprano Vesselina Kasarova proves that one can forget even the fabulous Cecilia Bartoli. With a voice at least twice that of Bartoli's, with the same agility in fast music, and capable of a similar number of shadings from ppp to fff (Bartoli can go from ppppp to f), Kasarova here tackles some of the same repertory as her Italian counterpart. We discover that her Cenerentola is much more easily wounded and far gentler, and maybe even more appealing than Bartoli's. But forget comparisons and just listen to Kasarova's infectious, seductive scene from L'Italiana and the amazing, breakneck finale to La Donna del Lago. Marvel at her manly singing in Arsace's big scene from Semiramide (totally different from Horne's and no less riveting), and bask in the charm of her Armida. Enjoy a scene from the almost unknown Bianca e Falliero. And just to surprise yourself, listen to Kasarova in a duet from Rossini's Otello and be knocked out by her foray up to a high D natural. Kasarova is joined in this and a couple of other scenes by sweet-voiced tenor Juan Diego Florez. Arthur Fagen conducts throughout as if this were Kasarova's show--which it most certainly is. --Robert Levine

Customer Reviews:

Pyrotechnique showcase.......2007-05-02

Reviewers concentrated mostly on Vesselina Kasarova. Certainly, this is a soprano with an astounding range - her aria in track 4 demonstrates a natural contralto voice, yet in more places than one she sores up way beyond the high C, to the envy of many sopranos.
To me, the duets in tracks 3, 5 and 7 with the then 25 year-old Juan Diego Florez are in a similar degree revelations of Florez's amazing voice.
Call him 'graceful tenor' or what not, his is a distinctive voice between a counter-tenor and tenor that only he possesses. But living with the high range is not his only skill - he has fine phrasing, sensitive musicality and wonderful intonation, even at the early age of 25!
The vocal talents displayed by the two singers in this recording are simply mesmerising.

Impassioned and polished singing.......2007-01-09

This is a great CD. At least one critic suggested earlier in her career that Kasarova should stick to the dramatic roles and stay off the bel canto repertoire, but she has certainly developed since then. The performances are beautifully crafted, with the added excitement of a substantial voice and real dramatic flair.

If you want to hear the most exciting performance ever of "Cruda sorte" go to Della Jones. But all in all this is a wonderful CD.

An exquisite Falcon.......2004-02-03

Madame Kasarova is an exquisite Falcon-Soprano (Natural Mezzo capable of doing soprano-roles) in the tradition of del los Angeles. Her mezzo-range is most powerful but she has acuti that would make sopranos pea-green with envy. I love her in Rossini and if you like romantic opera buy "Werther" with her as Charlotte, the most fantastic Charlotte since Victoria de los Angeles. She also AMAZING in Donizetti, esp. as Giovanna in "Anna Bolena". Enjoy this fabulous CD!

Vocally Astounding.......2001-07-12

In terms of vocal power, talent and technique, this may well be the most impressive collection of Rossini arias on record. This is a unique, very powerful voice, with shades of the rare agility of a coloratura contralto, as we are told Malibran was.

Much of the lightheartedness of Rossini's world is lost in these readings, though--and this will be a problem for many listeners accustomed to the aura of playfulness convention has taught us is central to Rossini's work, the tongue-in-cheek naivete of the Rossini Heroine. And while there IS at times more gravity in the readings than the music seems to demand, this untraditional interpretation also challenges many popular preconceptions about the a major composer of the mezzo/contralto repitoire.

And when it works--wow. Kasarova's "Una volta c'era...Un soave non so che" from *La Cenerentola* is the most rivoting performance of the aria I have ever heard. With simply a bit more variation in her shadings, Kasarova will become even better than she is, which is really, really good.

Different mezzo voice.......2001-03-31

By far, this is not a voice like Bartoli's. It is quite different and can not be compared to anyone else. You will not find the chest notes of Horne, neither Bartoli's charm. I am not an expert, but I can tell you that the security and the power contained in this bulgarian mezzo is worth trying.

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