Contralto Nathalie Stutzmann features as both a soloist and conductor of the Orfeo 55 ensemble in a new release of works by composers including Handel, Vivaldi, and Lotti. She also presents a handful of world-premieres by other Baroque composers.
Dal crudel from Handel’s Tamerlano (track 1) already gives us a taste of Stutzmann’s versatility. Her lower timbre is velvety and rich and her higher register singing (such as in the quieter section that begins at 1:23) is equally polished—there is a suppleness in her phrases whose endings are always well-tailored. The outer sections highlight her vocal dexterity, especially when it comes to precise articulation in the faster runs. As for the instruments, they do much more than just support the soloist, and in fact give the work its delightful and energetic bounce.
Nicola Porpora’s plaintive Torbido intorno (track 2) is a stark contrast from the sprightly Handel. The opening orchestral figures tip-toe quietly, giving way to a beautifully done vocal line. What really makes this interpretation work is that it goes beyond just evoking mournfulness; there is a personal and heartfelt quality in the delivery which makes it seem like Stutzmann sings directly to us. Where this really comes through is in the recapitulation whose subtleties carry an emotional profundity. Such nuances also have significance in the larger context of the work, since they make the heightened anguish of her ornamental flourishes even more perceptible. The piece comes to its greatest intensity in the breathtaking a cappella moment at the conclusion; this moment is a fine example of how the performer maximizes the expressiveness bounds of the Baroque idiom.
Related Classical Music Reviews
- Review: “La Vanità del Mondo” – Philippe Jaroussky, Artaserse
- Review: “Portraits de la Folie” – Stéphanie d’Oustrac, Ensemble Amarillis, Gaillard
- Review: “Farinelli” – Cecilia Bartoli, Antonini
Vivaldi’s Bajazet has a connection to Handel’s Tamerlano, being based upon the same libretto. In contrast to the Handel, however, the Recitative and Aria (track 13-14) brings forth a dramatic and perhaps even daring flair. The minor section of the Aria might be based upon a repetition of just 12 words, but Vivaldi creates a much larger musical image of the protagonist’s fury through abrupt harmonic changes and an effective use of the ensemble’s power. The soloist’s presence is greatly amplified by the instrumental writing, and one can certainly argue that both forces are on equal footing here. Stutzmann might sound unhinged in a few moments, but paired with the ensemble’s biting accents and growling lower strings, Asteria seems very real indeed.
Several of the world-premiere recordings are also worth a listen. Bononcini’s Cara Addio (track 9) is a nice departure from some of the other works that feature a fuller accompaniment. A trio of sorts between the contralto, harpsichord, and violin, the performance has a wonderful sensitivity; a wide range of vocal colors gives a different personality to each phrase. Though the tone of the harpsichord is more static by nature, it has a lovely translucence throughout and synchronizes well to the voice’s sensitivities. Sotto un faggio from Caldara’s Euristeo (track 12) features a largely wind-based accompaniment in which we can hear diverse timbres and many moving parts; especially refined are the presentation of the imitative patterns and dovetailing of lines. As in some of the previous tracks, the singer also strikes just the right balance between being both a soloist and partner. We can consequently savor the sophistication of the composer’s varied textures.
There are several tracks where Stutzmann steps back as the vocalist. One of the best examples is Lotti’s Sinfonia to the final act of Alessandro Severo (track 10), which is brisk and refreshing. The brass, well blended with the strings, comes through nicely without sounding too harsh while the basso continuo provides ample resonance. Some masterfully done subito dynamic changes in the repeated phrases adds variety as well.
The sound engineering takes into account the underlying need for pristine clarity in this type of music: it allows us to hear minute detailing in the voice and even individual instruments while still preserving a fuller sound in the more robust selections. The liner notes are an informative companion, describing the integral role this voice type played in the works of the presented composers. This album not only shows Stutzmann’s capabilities as both a fine singer and conductor but introduces us to a comprehensive view of the Baroque contralto. Warmly recommended.
“Contralto”
Nathalie Stutzmann – Contralto, Conductor
Orfeo 55
Warner Classics / Erato, CD 9029520955
Read more classical music reviews or visit The Classic Review Amazon store
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
