Review: Regula Mühlemann - Mozart Arias II (Sony, 2020)

This well-chosen selection is the second album of Mozart that soprano Regula Mühlemann records with these forces. The 8 opera arias and one “concert aria” nicely highlight the different personalities Mozart can produce under his pen.

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Throughout, Mühlemann shows an ability to create a clear definition of her melodic lines; it is evident that she considers the distinct place each note has in a phrase. Her Susanna (track 2) professes love for Figaro in a shy but hopeful manner that matches well with the orchestra’s dance-like swing.

“Parto m’affreto” (track 3) from the early opera “Giunia from Lucio Silla” (K. 135) is a departure of character from what came before. Mühlemann conveys the words of inextinguishable grief with vibrance and sincerity, and with precise diction. Already in command of the aria’s virtuosity, she consequently has ample room to infuse a wide range of emotions into even the intricate passages. Her voice expresses the harrowing words through a captivating breathlessness that does not come at the cost of a diminished tone, even though not always fully comfortable with lower range notes.

Mühlemann’s qualities as a lyric soprano are brought to light in “Ach, ich fuhl’s” from “Die Zauberflöte (as Pamina, track 5). Thanks to a warm tone and excellent control of her breathing, she is able to connect these delicate two-note phases into a longer, beautifully contoured line. Her voice here also possesses a crystalline quality that emphases the aria’s poignancy. I also enjoyed the seamless collaboration between soloist and ensemble, particularly where their melodic lines meet and intertwine.

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The short “Un moto di giola mi sento” from “Le Nozze di Figaro” (as Susanne, track 7) is a respite from some of the darker arias presented. Its lighthearted musical aura emanates from the words, which describe seeing joy and calm in the face of worry. The performer captures this optimism, even with a hint of comedy (the playful pause at 0’41”). The ensemble, too, takes a relaxed tempo that gives off a charming nonchalance. Of course, one cannot ignore Mühlemann’s improvisatory skills here: her mini-cadenzas in the repeats are creative and refreshing.

Mozart originally wrote “Ah se in ciel benigne stelle” (track 9) for his sister-in-law, Aloysia Weber, and her “flexible throat” (as he put it). Mühlemann saves this scintillating aria as her finale, a fitting conclusion that brings the concept of virtuosity and multidimensionality full-circle. As a long-form aria, there are multiple sections of distinct character, all unified by the display of technique. Skillfully assuming a coloratura role here, the singer’s scales and runs are enviably agile and her high notes near-perfect. Though all of this could easily turn into a one-dimensional showmanship, she never allows the virtuosity to take over: the more lyrical moments get equal attention.

This aria also gives the orchestra a more significant role. As the Kammerorchester Basel has shown us with their Haydn Symphonies releases under Antonini, they can be a dramatic and dynamic band, historically aware and attentive. Here, the inner contrapuntal lines in the introduction are brought out just enough to create a delicate rustling, creating a suspenseful energy as we await the soloist’s arrival. The accompaniment figures are well-executed by this ensemble: in their softer moments, they are tastefully present, giving even the minor moments like 2’14” an appropriate buoyancy.

The liner notes are a nice companion: they are not just informative about each selection, but are presented in a sort of continuous narrative. If Regina Mühlemann’s 2016 Mozart arias album introduced her as a rising star, this follow-up release certainly cements her presence as an artist. Her voice is ideal for this Classical genre, but it is her artistry that displays a rare versatility, one that allows her to sing a soubrette role just as well as a coloratura one.