Rossini: Colbran, The Muse / Joyce Didonato

Joyce DiDonato, Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma, Edoardo Muller

Rossini: Armida: D'amor al dolce impero / La donna del lago: Oh mattutini albori / La donna del lago: Tanti affetti in tal momento / La donna del lago: Fra il padre, e fra l'amante / Maometto II : (3b) Preghiera: "Giusto Cielo, in tal periglio" (Anna) / Quant'è grato all'alma mia (from Elisabetta, Regina d'Inghilterra) / Serenai vaghirai...Bel raggio lusinghier (from Semiramide) / Otello: Ah! Dagli affanni oppressa / Otello: Nessun maggior dolore / Otello: O come infino al core / Otello: Assisa a' piè d'un salice ... Che dissi! ...Deh! / Otello: Deh calma, o ciel, nel sonno / Otello: Se al mio crudel tormento / Otello: Dove son io! / Otello: È ver....gode quest'anima

2010 Gramophone Award Winner: Best Recital Recording & Artist of the Year
Wholenote Discoveries - February 2010
Mezzo Joyce DiDonato focuses on arias written by Rossini for the famous singer Isabella Colbran her latest release. Written as showpieces for a particular singer’s unique voice, Colbran’s roles are notoriously difficult to sing, but I doubt they have been better sung in modern times than on this disc. DiDonato has an intense, focused voice with a quick vibrato, impeccable coloratura, and lovely legato. But she is not afraid to embolden it with robust expressions of joy or desperation. Her incredible range allows DiDonato to bring to roles that are often sung by lighter sopranos (such as Elena, Semiramide, and Armida) a richer mezzo tonal colour, but without any hint of strain or lack of high notes. An exceptional release, with excellent support from both orchestral and vocal colleagues. Seth Estrin

Gramophone Editor's Choice - December 2009
After the success of her first Virgin Classics recital – Furore, arias by Handel – Joyce DiDonato turns to the composer whose heroines first brought her to international stardom: Gioacchino Rossini. “Is Joyce DiDonato the world's best Rossini singer?”, asked the New York magazine Opera News after the American mezzo sang the finale of La Cenerentola at Carnegie Hall in January 2009. “That title certainly seemed hers by sovereign right,” it continued; “Her phrasing was silky, her timbre rich and glowing, and her ornaments were impeccably stylish and utterly beguiling. Most impressive was DiDonato's combination of immaculate technical control with an air of wild, unstoppable joy. This was truly a moment to treasure from an artist who is at the very top of her game.” If La Cenerentola does not appear in this new recital, recorded in Rome in June, her other signature Rossini role holds a place of honour: she has been described by the UK’s Sunday Times as “the world’s reigning Rosina in Il barbiere di Siviglia”. In 2009 alone she sings the role in Vienna, London (to be recorded for DVD by Virgin Classics) and New York, and the role has also taken her to Paris, Amsterdam, Tokyo, Houston, San Francisco, Bologna and Rossini’s birthplace, Pesaro. Rossini’s two best-known comic operas proved essential in building the Kansas-born singer’s reputation over the last decade, but this recital focuses primarily on his serious works – although the tragic tensions do not perhaps run as consistently high as in DiDonato’s first Virgin Classics recital: Furore, the Handel programme released last year and described by The Daily Telegraph as “an exhilarating roller-coaster of a recital from a charismatic singing-actress”. This Rossini programme includes two arias from La donna del lago, which DiDonato is scheduled to sing over the coming seasons in Geneva, Paris, Milan and London. She takes the role of Elena, written for a soprano, but a great success in the 1980s for DiDonato’s idol, fellow high mezzo Frederica von Stade. The other arias on the CD were also all composed for soprano: they come from Otello, Semiramide, Armida, Maometto II and Elisabetta regina d'Inghilterra. DiDonato proved that she can triumph in music written for soprano with her recent complete recording of Handel’s Alcina and her debut last year in the role of Mozart’s Donna Elvira; the performances at London’s Royal Opera House prompted The Guardian to describe her as “the real star … singing her first Elvira and nailing even the topmost notes,” while The Daily Telegraph praised her performance in a similar vein: “The star of the show was … Joyce DiDonato, who sang Elvira with a style, sensitivity and bravura that outclassed everyone else on stage.” To return to Rossini and Rosina, the role for DiDonato’s debut at the Vienna State Opera in April 2009, the Wiener Zeitung had this to say: “She tossed off crystal-clear coloratura, presented a dark, secure low register, a confidently nuanced mid-range, bright and voluminous high notes – in short, everything that makes for great, modern bel canto style. She appears undaunted by the role's many technically tricky passages, and even more: she sang musically challenging variations on every repeated phrase, shaped every single bar with brio, and presented a psychologically multi-faceted characterisation with wildly joyful abandon.”

Price: $13.27