Soprano Lise Davidsen’s second solo album follows on from her first highly successful release. There is nothing understated from her performances. Bold, encapsulating and full of drama, Davidsen has a distinguished voice, highly expressive and brimming with color.
Turning to Beethoven, Verdi and Wagner, Davidsen chose a repertoire that suits the character and nature of her voice. These are not performances for the faint-hearted; Davidsen’s Beethoven lacks the subtleties or refinement of period performances, and she treats this in the same way as she does the Wagner or Verdi.
Davidsen makes a commanding statement in the opening track “Abscheulicher! Wo eilst du hin?” from Fidelio. Her projection is formidable and commanding without being overpowering; an attribute she takes forward into Beethoven’s concert aria “Ah! Perfido”. There is much subtlety in the emotional delivery of the text, producing a highly distinctive performance. She revels in the Mozartian moments (and would make a formidable Queen of the Night). For those preferring a more period approach, Camilla Tilling has a lighter voice matching the period sound of the Gabrieli Players. Although Davidsen’s interpretation couldn’t be further from this, it’s equally valid.
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In the Mascagni and Verdi extracts, Davidsen showcases the mezzo qualities of her voice. She moves from her chest to head voice with utter confidence and dexterity, with smooth transitions and while maintaining projection. Yet these are not merely treated as masterclasses in technical assurance. In “Voi lo sapete o mamma” from Mascagni’s “Cavalleria rusticana” Davidsen scales all the emotional peaks with conviction, reminding us there is still a place for new approaches other than Maria Callas’.
The two Verdi extracts prove to be the highlights of the album. They are aptly placed central to the program, in what is a considered and balanced affair. Davidsen’s portrayal of Desdemona, singing “Ave Maria” from Otello, is utterly transfixing. The drama, solitude and reverence she evokes are completely commanding. She is aided by Sir Mark Elder’s sensitive balancing and the wonderful playing of the London Philharmonic Orchestra.
Davidsen finds a different level of emotion in Wagner’s “Wesendonck Lieder”. She treats each of the five songs as individual sound pictures, relishing in the contrasting natures of each song, but finds a unity by keeping them restrained, displaying the more muted colors of her voice without resorting to vocal pyrotechnics. In the slower songs of the cycle — “Der Engel”, “Im Treibhaus” and “Träume”, Davidsen takes her time. The shaping of phrases is particularly beautiful, while the sentiment behind the text is portrayed vividly and intensely. Davidsen’s approach is very different from that of Jessye Norman, who is more forthright and brighter in tone. In the recording by Susan Bullock, who performs the piano version with pianist Malcolm Martineau, there is a different level of intimacy. This is where I felt that Davidsen’s German diction is much more natural than her Italian which, although generally clear, sounds slightly more deliberate.
The recording is a bit over-engineered, with prominent woodwind and brass. The strings, however, have a strong panorama which is particularly noticeable in “Ah! Perfido” with the placement of the first violins to the left and second violins to the right. There is more space in and around Davidsen’s voice in the Mascagni and Verdi, which were not recorded at the same time as the Beethoven or Wagner. All the performances were captured in August of 2020 in Henry Wood Hall, London, which has a noticeable but unintrusive acoustic. Davidsen’s performances are flawless and effortlessly executed. As with her previous albums (see reviews of her Strauss and Weber), she is expressive, communicative and captures your attention from first note to last. An overall commanding release.
Arias by Beethoven, Verdi, Wagner, Mascagni and Cherubini
Lise Davidsen – Soprano
Rosalind Plowright – Mezzo-Soprano (track 6)
London Philharmonic Orchestra
Sir Mark Elder – Conductor
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