Soprano Golda Schultz transitions to a more classical repertoire after her previous solo album, reviewed favorably on these pages. This collection of arias and scenes from Mozart‘s Da Ponte operas – Don Giovanni, Così fan tutte, and Le nozze di Figaro – showcases Schultz’s vocal technique and her interpretations of these familiar female characters.
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The thoughtful pacing and organization of the tracks ensures a captivating listening experience. Solo arias and recitatives are combined with ensemble performances, slower and quieter tracks are placed between the dramatic scenes.
Schultz’s voice is a marvel of consistency. She possesses a rich, warm soprano that maintains its color and control across all registers, resulting in effortless and smooth transitions. A good voice acting is also present in the tracks from Così fan tutte, where Schultz portrayal of Fiordiligi manages to project the character’s emotional turmoil with nuanced phrasing and a palpable vulnerability.
The supporting cast is equally impressive, each voice blending well with Schultz’s tone of voice. While each solo track is a highlight in its own right, the album truly comes alive in its ensemble pieces. Simone Easthope delivers a compelling portrayal of Donna Anna in the opening track, and the sextet from Così fan tutte (track 12) is a thrilling showcase of the singers’ tight coordination and energetic delivery. The album concludes with the joyous ensemble finale from Le nozze di Figaro.
Kammerakademie Potsdam provides a sensitive accompaniment, employing a fortepiano in the recitatives for a touch of period flavor. The recording itself is well-balanced between Schultz’s tone, the other singers and the orchestra. There are, however, a couple of instances where microphone placement seems to have caused the singers to sound uneven in the recording, as if their distance from the microphone fluctuates throughout the track.
The accompanying booklet essay by Schultz and Caroline Bar delves into the complexities of the Mozart-Da Ponte opera heroines and offers valuable insights into Schultz’s own approach to portraying these characters.
