Coloraturas:Opera Arias

Diana Damrau (soprano) & Munich Radio Orchestra, Dan Ettinger

Als je "coloratuur" zegt, bedoel je Diana Damrau, momenteel een van de meest gevraagde sopranen. Nu verlegt Diana Damrau de grenzen van de 18e eeuw. Voor het eerst beleven we op CD haar prachtige stem in coloratuuraria's uit de Romantiek en de vroegmoderne tijd - stijlperiodes waarin componisten extreme vocale prestaties nog meer in dienst stelden van de emotionele expressie. Het programma, dat opera's uit vier taalgebieden omvat, reikt van Rossini en grote Verdi-momenten tot Strauss en Bernstein. In haar belichaming van de verschillende personages wordt Diana Damrau opnieuw wat de Britse Guardian haar in 2008 al noemde: een "cultfiguur van onze tijd"

The multi-faceted German coloratura soprano, who has been described as “the Meryl Streep of classical music” shows her vocal and dramatic range with this collection of arias from the 19th and 20th centuries. The repertoire ranges from Rossini and Verdi to Stravinsky and Bernstein, from comedy to tragedy and covers four languages: German, Italian, French and English. It includes Zerbinetta’s marathon coloratura aria from Ariadne auf Naxos, one of the operas which spearheaded Damrau’s international career.

Bernstein:
 Glitter and be gay (Candide)
 
Donizetti:
 Ah! tardai troppo...O luce di quest'anima (Linda di Chamounix)
 
Gounod:
 Ah! Je veux vivre dans ce rêve (Roméo et Juliette)
 
Puccini:
 O mio babbino caro (Gianni Schicchi)
 
Rossini:
 Una voce poco fa (Il barbiere di Siviglia)
 
Strauss, R:
 Grossmächtige Prinzessin (Ariadne auf Naxos)
 
Stravinsky:
 No word from Tom (The Rake's Progress)
 
Thomas, Ambroise:
 A vos jeux, mes amis (Hamlet)
 
Verdi:
 Caro nome (Rigoletto)
 Volta la terrea (Un Ballo in Maschera)
 Saper vorreste (Un Ballo in Maschera)

"Diana Damrau is ice and fire. With a formidable technique allied to effortless artistry, there is it seems nothing that she cannot do, certainly in the vocal fireworks department. …it's her Gilda where everything melds into perfection. The lightly coloured tone in the introductory phrases to 'Caro nome' proclaim her innocence; the vocal slide into the flute solo that introduces the aria sings of her love for the Duke; and by the time you arrive at the tender trill on the aria's penultimate phrase and the final effortlessly sustained note you're just about in love yourself."
BBC Music Magazine - February 2010 *****