This new release finds the Sinfonia of London and John Wilson sidestep into the theatre, with an album entitled simply “Italian Opera Arias”. Partnering-up with soprano Linda Richardson, the album includes famous arias Verdi, Puccini, Bellini and Donizetti.
The repertoire looks daunting even for seasoned sopranos, as the program contains many of the arias Maria Callas made her own, setting the bar many aspire to achieve. Other operatic diva’s calling-card albums litter the catalogues with the same arias, including Anna Netrebko, Natalie Dessay, Angela Ghergorghu and Reneé Fleming, to name just a few. Each distinguished soprano has an instantly recognisable voice, which can prove a difficult market to stand out in.
Richardson’s voice needs some adjusting to, and may not be as individual as the fore-mentioned artists. She has some similarities with Joan Sutherland’s but disappointingly lacks the absolute clarity of diction. Her vibrato has a similar breadth, but is slightly less controlled in comparison. Yet her colouration is even and the intonation is secure throughout. Richardson also possesses an impressive breath control — as exemplified in the final bars of Puccini’s “Senza Mamma”. from ‘Suor Angelica’ (track 12).
Richardson is at her best when using her voice to strongly characterize her roles. Her distinctive level of communication takes one to the heart of the action as in the excerpts from “La Traviata”. Listen to the subtly of tone adjustments, from the passion of Violetta in “La Traviata” to the fragility of Mimì in “La Boheme”, or from the longings and pinnings of Butterfly and Suor Angelica. With effortless ease and strong conviction she depicts the fatefulness of Anne Boleyn in “Pegante voi?” and the naivety of Gilda in “Caro nome”.
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Maria Callas made the arias “Vissi d’arte”, “Casta Diva” and “Senza Mamma” her own, and these are naturally difficult to replicate with the same dramatic effect. Richardson doesn’t aim to imitate, but finds her own footing. In “Casta Diva” for example, the melismatic phrases have a different intensity and colour to Callas — or even Sutherland, but bring a different facet to Norma’s character. The drama peaks appropriately in the album’s final excerpt “Tu? Tu? Piccolo iddio!” from ‘Madama Butterfly’ (in which Jung Soo Yun makes a brief appearance as Pinkerton); Wilson and Richardson bring the operatic and musical experience full circle, returning to the dark, Italianate and passionate mood of the opening.
The sound from the Sinfonia of London is weighty, rich, full-bodied and more symphonic than operatic, making the orchestral passages magical in a similar way to which Pappano provides with the Orchestra dell’Accademia di Santa Cecilia for both Anna Netrebko and Diana Damrau. Strings have a rich sonority, immediately evident in the opening Verdi track (“Pace, pace mio Dio” from ‘La forza del destino’).
The booklet provides notes from Richardson and a brief synopsis, setting each extract in context — an ideal starting point for opera novices. Recorded in the spacious Church of St. Augustine, Kilburn, London, the acoustic has a similar ambiance to Netrebko’s album ‘Verisomo’. Wilson, like Pappano, creates such a vibrant sound that the orchestra alone paints the scene in one’s imagination. Credits are made to musicians with particularly prominent solos such as Sally Pryce (harp) and Adam Walker (flute), who is exceptional, especially in “Casta Diva”.
The previous releases of French orchestral works, Respighi and Korngold showcase Wilson and the Sinfonia of London not only in their versatility and virtuosity, but also the unique and sympathetic bond between ensemble and conductor. This new release proves they are also a fine accompanying group.
“Italian Opera Arias“
Linda Richardson – Soprano
Sinfonia of London
John Wilson – Conductor
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