by Steven Ang

The Polish contralto Ewa Podles is one of the most distinguished performers in opera houses today, specializing in a wide repertoire from bel canto operas to Russian works to the baroque, and her contrasting lack of record label representation tellingly shows the shifting trends from the heyday of bel canto specialists led by Joan Sutherland, Pavarotti and Marilyn Horne to the current glamour pusses on today’s classical best-sellers. This disc has received plenty of accolades since its release back in 1996, and it is not difficult to see why. Possessing a potent instrument dark and rich in timbre, and huge in volume, she is as agile in coloratura passages with booming chest tones and high notes extending to a high C (which she does not hesitate to show off).

This recording presents eight contrasting selections from Rossini’s wealth of contralto/mezzo repertoire. From the low rumbly-tumbly trouser roles whom she has since claimed from Marilyn Horne to the higher tessituras of Barber’s Rosina and Cenerentola’s Angelina, Podles handles each of the arias’ individual demands with apparent ease and suitable characterization. In the Barber selection, the argument between soprano versus mezzo Rosina becomes moot in her hands when she sings the traditional soprano interpolations with her creamy mezzo colours. She is generous with her ornamentation, adding high notes and roulades whenever appropriate, adding excitement to sparsely accompanied recitative and ending each numbers with big climaxes.

The Hungarian State Opera Chorus and Orchestra under Pier Giorgio Morandi deserves praise as well, for providing close support with their soloist and providing much excitement in their own parts. Not once did I find a sluggish tempo of a note out of place; the chorus sang with enthusiastic gusto and the orchestra responded similarly, energetically driving each number on a crescendo toward their collective climax.

In the interest of objectivity, one should mention a few defects, but note that any criticisms pointed out are merely nitpicking. Here, a reliance on expirates and portamenti occasionally mar the lines on coloraturas runs, and the occasional ornamented high note can be underpitched. As for the packaging, libretti and translations are provided, as well as introductions on the works, soloist, conductor, chorus and orchestra. However, a photo of the diva on the cover rather than a general portrait would have been much appreciated.

Nonetheless, for a recording combining high quality performance, clean digital studio sound and budget price, this recording is hard to beat. This CD stands together with the best of bel canto recordings by the above-mentioned luminaries, who have unfortunately retired from full-time singing. Those looking for virtuosic singing of this highly infectious music by a currently active artist of high caliber cannot go wrong with this disc in their collections.

 

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